Relevant bibliographies by topics / Music|Performing arts|Native American studies / Journal articles
To see the other types of publications on this topic, follow the link: Music|Performing arts|Native American studies.

Journal articles on the topic 'Music|Performing arts|Native American studies'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Music|Performing arts|Native American studies.'

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.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Whidden, Lynn. "North American Native Music." Journal of American Folklore 109, no. 432 (1996): 193. http://dx.doi.org/10.2307/541835.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Herndon, Marcia, Susan Dyal, and Charlotte Heth. "Preserving Traditional Arts: A Toolkit for Native American Communities." Ethnomusicology 33, no. 1 (1989): 182. http://dx.doi.org/10.2307/852192.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Farrer, Claire R. "Creation's Journey: Native American Music, 1992-1993." Journal of American Folklore 112, no. 443 (1999): 85. http://dx.doi.org/10.2307/541406.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

GOLDMAN, DIANNE L. "FORTY-FIFTH ANNUAL MEETING OF THE AMERICAN SOCIETY FOR EIGHTEENTH-CENTURY STUDIES WILLIAMSBURG, VIRGINIA, 20–22 MARCH 2014." Eighteenth Century Music 12, no. 1 (February 17, 2015): 127–30. http://dx.doi.org/10.1017/s1478570614000542.

Full text
Abstract:
Often the most invigorating conferences are those which bring together many different specialties and integrate them within interdisciplinary panels. Such was the case with the Forty-Fifth Annual Meeting of the American Society for Eighteenth-Century Studies (ASECS), which took place in March in Williamsburg, Virginia. The event was enormous, with over eight hundred presenters spread among 221 panels, in addition to seven plenary sessions and other special events such as the masquerade ball hosted by the Women's Caucus. Music and other performing arts were well represented throughout the weekend; both the Society for Eighteenth-Century Music and the Mozart Society of America sponsored panels, and many papers about the arts were included in other groupings. Given the large number of papers and other events, it was impossible to attend all or even most of the offerings. However, I will give an overview of my experiences in order to convey a sense of the conference's atmosphere.
APA, Harvard, Vancouver, ISO, and other styles
5

Ketchum, Shanna. "Native American Cosmopolitan Modernism(s)." Third Text 19, no. 4 (July 2005): 357–64. http://dx.doi.org/10.1080/09528820500124354.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Smith, Laura E. "Photography, criticism, and Native American women’s identity." Third Text 19, no. 1 (January 2005): 53–66. http://dx.doi.org/10.1080/09528820412331318569.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

HERNÁNDEZ-AVILA, INÉS. "Performing Ri(gh)t(e)s: (W)Riting the Native (In and Out of) Ceremony." Theatre Research International 35, no. 2 (May 27, 2010): 139–51. http://dx.doi.org/10.1017/s0307883310000052.

Full text
Abstract:
This article considers Native American/indigenous (women's) theatre from the perspective of performing indigeneities/embodied spiritualities, in relation to ceremonial and ‘cotidian’ ri(gh)t(e)s, and the practice of personal and collective autonomy as a ri(gh)t(e). I situate my discussion within particular sites of the performance of indigeneity and the embodiment of spirituality in Chiapas, Mexico, where my research has taken me, within my own work with a performance course I created at the University of California, Davis, and within critical perspectives offered in Native American studies. I also provide some commentary on the two related gatherings that took place at the Centro Hemisférico/FOMMA, in San Cristobal de las Casas, Chiapas, August 2008, and the Actions of Transfer: Women's Performance in the Americas conference at UCLA, November 2008. Both events were co-sponsored by the Hemispheric Institute on Performance and Politics of NYU and they were announced on the UCLA website as ‘sister’ events. In August 2008, FOMMA officially became a ‘branch’ centre of the Hemispheric Institute.
APA, Harvard, Vancouver, ISO, and other styles
8

Lewis, George H. "Storm blowing from paradise: social protest and oppositional ideology in popular Hawaiian music." Popular Music 10, no. 1 (January 1991): 53–67. http://dx.doi.org/10.1017/s0261143000004311.

Full text
Abstract:
In the early 1970s, in the American Island State of Hawaii, popular music began a transformation that was, to some extent, similar in form to what occurred on the American mainland ten to fifteen years earlier, when popular music first merged with the civil rights movement and then with the anti-Vietnam movement. Hawaiian popular musicians, reacting to the commercially slick music of the tourist trade and the Wai Ki Ki nightclubs, reached back to embrace the few ethnic artists still alive and performing. They searched their island past for traditional material and, as the movement consolidated, merged this material with their own pressing social and cultural concerns to create a new type of music – part contemporary, part traditional and all wrapped in a cloak of strong social protest against non-native Hawaiians who they saw as having nearly totally destroyed their culture, their selfidentity, their pride and their sacred land. As Haunai-Kay Trask (1982, p. C2), a spokesperson for the movement, put it:Any society that has experienced the kind of impact the Hawaiian culture and Hawaiian people have experienced wind up being on the bottom because they are inundated with another culture … High rises, fancy clothes, and freeways – that's what United States culture stands for. It's grotesque. They have no feeling for the fragility of life. Or flora or fauna. Part of me hates the haoles with a passion, but part of me doesn't care. They're just stupid and I want them to stay away.
APA, Harvard, Vancouver, ISO, and other styles
9

Yocom, Margaret R., Larry Evers, and Barre Toelken. "Native American Oral Traditions: Collaboration and Interpretation." Western Folklore 61, no. 2 (2002): 222. http://dx.doi.org/10.2307/1500342.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Cusic, Don. "Music of the Counterculture Era: American History Through Music." Journal of American Culture 28, no. 1 (March 2005): 144. http://dx.doi.org/10.1111/j.1542-734x.2005.160_17.x.

Full text
APA, Harvard, Vancouver, ISO, and other styles
11

Wong, Hertha D., Brian Swann, and Arnold Krupat. "Recovering the Word: Essays on Native American Literature." Western Folklore 48, no. 1 (January 1989): 75. http://dx.doi.org/10.2307/1499988.

Full text
APA, Harvard, Vancouver, ISO, and other styles
12

Peterson, Dale E. "Justifying the Margin: The Construction of “Soul” in Russian and African-American Texts." Slavic Review 51, no. 4 (1992): 749–57. http://dx.doi.org/10.2307/2500135.

Full text
Abstract:
The scholarly world has little noted nor long remembered the interesting fact that the emancipation proclamation of a culturally separate African-American literature was accompanied by a generous acknowledgment of Russian precedent. In 1925 Alain Locke issued the first manifesto of the modern Black Arts movement, The New Negro. There could not have been a clearer call for the free expression of a suppressed native voice: “we have lately had an art that was stiltedly selfconscious, and racially rhetorical rather than racially expressive. Our poets have now stopped speaking for the Negro—they speak as Negroes.“ Even so, this liberating word of the Harlem Renaissance was uttered with a sideward glance at the prior success of nineteenth century Russia's soulful literature and music. Locke himself cited the testimony of his brilliant contemporary, the author of Cane, a poetic distillation of the pungent essence of slavery's culture of oppression: “for vital originality of substance, the young Negro writers dig deep into the racy peasant undersoil of the race life.
APA, Harvard, Vancouver, ISO, and other styles
13

Cepeda, María Elena. "When Latina hips make/mark history: Music video in the “new” American studies." Women & Performance: a journal of feminist theory 18, no. 3 (November 2008): 235–52. http://dx.doi.org/10.1080/07407700802495993.

Full text
APA, Harvard, Vancouver, ISO, and other styles
14

Browne, Ray B. "The Cambridge Companion to Native American Literature." Journal of American Culture 29, no. 1 (March 2006): 98–99. http://dx.doi.org/10.1111/j.1542-734x.2006.00310.x.

Full text
APA, Harvard, Vancouver, ISO, and other styles
15

Liao, Yvonne. "‘Chinatown’ and Global Operatic Knowledge." Cambridge Opera Journal 31, no. 2-3 (July 2019): 280–90. http://dx.doi.org/10.1017/s0954586720000063.

Full text
Abstract:
In recent years opera studies have taken a distinctly global and migratory turn: Nancy Rao's Chinatown Opera Theater is a notable example. Rao's book sheds new light on the art form's transpacific networks, Cantonese immigrant communities and their highly racialised experience of everyday entertainment in early twentieth-century America, thereby ‘strip[ping] the veneer of exoticism from [southern] Chinese [i.e., Cantonese] opera, placing it firmly within the bounds of American music and a profoundly American experience’. Still more illuminating is Rao's focus on the Chinatown theatre companies, their contracting of touring performers and their role in transoceanic commerce. Woven into the book is an intimately connected narrative of Cantonese opera in the 1920s, encompassing San Francisco, Vancouver, New York, Honolulu and (to a lesser extent) Havana. The selection of these locations is no coincidence, given their significance in the interwar years as port cities linked within imperial steamship networks, amidst the part-conflicting, part-intersecting agenda of dominant and emergent empires (for instance, Japan and the United States, in the case of the latter).
APA, Harvard, Vancouver, ISO, and other styles
16

Robinson, Alfred, Larry Evers, and Felipe S. Molina. "Yaqui Deer Songs, Maso Bwikam: A Native American Poetry." Western Folklore 47, no. 1 (January 1988): 62. http://dx.doi.org/10.2307/1500059.

Full text
APA, Harvard, Vancouver, ISO, and other styles
17

Green, Christopher T. "Anishinaabe Artists, of the Great Lakes? Problematizing the Exhibition of Place in Native American Art." ARTMargins 4, no. 2 (June 2015): 80–96. http://dx.doi.org/10.1162/artm_a_00113.

Full text
Abstract:
This article discusses the relationship between Native American art and place as a curatorial strategy in the recent exhibition Before and After the Horizon: Anishinaabe Artists of the Great Lakes. It is argued that while the Anishinaabe connection to the Great Lakes region as a spiritual, cultural, and epistemological center is essential to the art of the exhibition, the curators present this place as timeless and unchanging. The result is an interpretation of the Native American relationship to place that is idealized, ahistorical, and inaccurate to the tumultuous legacy of colonialism. Rather, as the art on display makes clear despite the curatorial context, the relationship to place is dynamic and changing. Other recent exhibitions of indigenous art show that these curatorial decisions were not unavoidable and that Native American art can be exhibited to show that its relationship to place has adapted and changed while still being maintained.
APA, Harvard, Vancouver, ISO, and other styles
18

Margolies, Daniel S. "Introduction: Music and Sound in American Culture." Journal of American Culture 38, no. 1 (February 23, 2015): 1–3. http://dx.doi.org/10.1111/jacc.12285.

Full text
APA, Harvard, Vancouver, ISO, and other styles
19

Fleck, Richard F. "Black Elk Speaks: A Native American View of Nineteenth-Century American History." Journal of American Culture 17, no. 1 (March 1994): 67–70. http://dx.doi.org/10.1111/j.1542-734x.1994.00067.x.

Full text
APA, Harvard, Vancouver, ISO, and other styles
20

Brady, Margaret K., William M. Clements, and Frances M. Malpezzi. "Native American Folklore, 1879-1979: An Annotated Bibliography." South Central Review 2, no. 2 (1985): 101. http://dx.doi.org/10.2307/3189155.

Full text
APA, Harvard, Vancouver, ISO, and other styles
21

Johnson, Willard. "A Recently Received Native American Shamanistic Myth of Little Spirits." Western Folklore 51, no. 2 (April 1992): 207. http://dx.doi.org/10.2307/1499368.

Full text
APA, Harvard, Vancouver, ISO, and other styles
22

Huber, Alison. "Remembering Popular Music, Documentary Style." Television & New Media 12, no. 6 (March 10, 2011): 513–30. http://dx.doi.org/10.1177/1527476411400838.

Full text
Abstract:
Over the past forty years, a growing number of television documentaries have attempted to produce a history of Anglo-American popular music for a wide audience. This article represents an attempt to come to terms with the particularity of the popular music documentary form and the different ways in which these documentaries present themselves as authoritative public texts that circulate understandings about popular music’s past. The argument is inspired by the landmark mid-1970s installment in this tradition: Tony Palmer’s epic seventeen-part narrative, All You Need Is Love. While this series makes strong historical claims—in Palmer’s words, it sets out to tell “nothing less than the entire history and development of popular music”—the author argues that the series is, in fact, based on the tropes and discourses of memory. Through an analysis of some of the particular formal and aesthetic characteristics of the series, this article reveals the ways in which talking and thinking about the past of popular music and its culture necessarily call on an experience of the senses that is simultaneously replayed and refracted as memory.
APA, Harvard, Vancouver, ISO, and other styles
23

de Caro, Frank, Robin Roberts, and Cecelia Tichi. "High Lonesome: The American Culture of Country Music." South Central Review 14, no. 1 (1997): 74. http://dx.doi.org/10.2307/3189756.

Full text
APA, Harvard, Vancouver, ISO, and other styles
24

Irmscher, Christoph, and Gerald Vizenor. "Narrative Chance: Postmodern Discourse on Native American Indian Literatures." South Central Review 11, no. 4 (1994): 58. http://dx.doi.org/10.2307/3190117.

Full text
APA, Harvard, Vancouver, ISO, and other styles
25

Brandt, Maria F. "Native American Drama: A Critical Perspective by Christy Stanlake." Journal of American Culture 33, no. 4 (December 2010): 351–52. http://dx.doi.org/10.1111/j.1542-734x.2010.00756_16.x.

Full text
APA, Harvard, Vancouver, ISO, and other styles
26

Rielly, Edward J. "Muting White Noise: Native American and European American Novel Traditions by James H. Cox." Journal of American Culture 30, no. 3 (September 2007): 350–51. http://dx.doi.org/10.1111/j.1542-734x.2007.00583.x.

Full text
APA, Harvard, Vancouver, ISO, and other styles
27

Rielly, Edward J. "Native Moderns: American Indian Painting, 1940?1960 by Bill Anthes." Journal of American Culture 30, no. 3 (September 2007): 351–52. http://dx.doi.org/10.1111/j.1542-734x.2007.00584.x.

Full text
APA, Harvard, Vancouver, ISO, and other styles
28

Young, M. Jane. ""Pity the Indians of Outer Space": Native American Views of the Space Program." Western Folklore 46, no. 4 (October 1987): 269. http://dx.doi.org/10.2307/1499889.

Full text
APA, Harvard, Vancouver, ISO, and other styles
29

Woods, Leigh. "Two-a-Day Redemptions and Truncated Camilles: the Vaudeville Repertoire of Sarah Bernhardt." New Theatre Quarterly 10, no. 37 (February 1994): 11–23. http://dx.doi.org/10.1017/s0266464x0000004x.

Full text
Abstract:
American vaudeville welcomed a host of important stage actors into its midst during the generation between the mid-1890s and the end of the First World War, and in 1912, following appearances in British music halls, Sarah Bernhardt became vaudeville's centrepiece in its own war with the legitimate theatre for audience and status. By way of exchange, she received the highest salary ever paid to a ‘headlined’ vaudeville act, while performing a repertoire from which she was able to exclude the sort of light entertainment which had previously typified the medium. Both vaudeville and Bernhardt profited, in very different ways, from this wedding of high culture to low – and in the process a cultural standing seems to have attached itself to exhibitions of pain which legitimised the lot of the morally deviant women she both portrayed and exemplified. Leigh Woods, Head of Theatre Studies at the University of Michigan, explores the ways in which the great actress thus maintained a demand for her services well after the eclipse of her legendary beauty and matchless movement.
APA, Harvard, Vancouver, ISO, and other styles
30

Moser, Irene, Joan Moser, and David Whisnant. "All That Is Native and Fine: The Politics of Culture in an American Region." Western Folklore 44, no. 2 (April 1985): 133. http://dx.doi.org/10.2307/1499558.

Full text
APA, Harvard, Vancouver, ISO, and other styles
31

Mackey, J. Linn. "Experiential and Symbolic Aspects of the Native American Sweat Lodge Ceremony." Jung Journal 4, no. 1 (January 2010): 99–108. http://dx.doi.org/10.1525/jung.2010.4.1.99.

Full text
APA, Harvard, Vancouver, ISO, and other styles
32

Hughes, Sakina M. "Walking the tightrope between racial stereotypes and respectability: images of African American and Native American artists in the golden age of the circus." Early Popular Visual Culture 15, no. 3 (July 3, 2017): 315–33. http://dx.doi.org/10.1080/17460654.2017.1383028.

Full text
APA, Harvard, Vancouver, ISO, and other styles
33

Browne, Ray B. "One Vast Winter Count: The Native American West Before Lewis and Clark." Journal of American Culture 28, no. 2 (June 2005): 248. http://dx.doi.org/10.1111/j.1542-734x.2005.166_17.x.

Full text
APA, Harvard, Vancouver, ISO, and other styles
34

Welsh, Roger L., and George E. Lankford. "Native American Legends: Southeastern Legends: Tales from the Natchez, Caddo, Biloxi, Chicasaw, and Other Nations." Western Folklore 48, no. 1 (January 1989): 74. http://dx.doi.org/10.2307/1499987.

Full text
APA, Harvard, Vancouver, ISO, and other styles
35

Romanowski, William D. "Roll Over Beethoven, Tell Martin Luther the News: American Evangelicals and Rock Music." Journal of American Culture 15, no. 3 (September 1992): 79–88. http://dx.doi.org/10.1111/j.1542-734x.1992.t01-1-00079.x.

Full text
APA, Harvard, Vancouver, ISO, and other styles
36

Jimoh, A. Yemisi, and Saadi A. Simawe. "Black Orpheus: Music in African American Fiction from the Harlem Renaissance to Toni Morrison." African American Review 37, no. 1 (2003): 168. http://dx.doi.org/10.2307/1512377.

Full text
APA, Harvard, Vancouver, ISO, and other styles
37

Mason, Jeffrey D. "American Theatre in the Culture of the Cold War: Producing and Contesting Containment, 1947–1962. By Bruce A. McConachie. Studies in Theatre History & Culture. Iowa City: University of Iowa Press, 2003; pp. xiv + 347; 15 illus. $49.95 cloth." Theatre Survey 46, no. 2 (October 25, 2005): 341–43. http://dx.doi.org/10.1017/s0040557405360200.

Full text
Abstract:
From 1947 to 1962, Broadway audiences enjoyed major works by Tennessee Williams and Arthur Miller as well as plays ranging from A Thousand Clowns to Who's Afraid of Virginia Woolf? and a string of durable musical comedies offering light and dark visions of the urban streets (Guys and Dolls and West Side Story), inspirational fables (The Music Man and The Sound of Music), and war in legend and in recent memory (Camelot and South Pacific). Meanwhile, Judith Malina and Julian Beck founded the Living Theatre, José Quintero and Theodore Mann established the Circle in the Square, Joe Papp offered his first free Shakespeare productions in New York City parks, and Joe Cino and Ellen Stewart led the development of Off-Off Broadway. This heterogeneous theatre scene comprised diverse and even competing representations of a complex but interconnected culture, and Bruce A. McConachie has undertaken the task of elucidating the workings of such art not in isolation but as cultural and social production.
APA, Harvard, Vancouver, ISO, and other styles
38

Ibsch, Elrud. "Motivations, Epistemological Considerations, Concepts of Literature, and Aims of Research in the Empirical Study of Literature in the United States and Germany." Empirical Studies of the Arts 7, no. 2 (July 1989): 99–114. http://dx.doi.org/10.2190/51mj-gd5n-c6wm-pm4f.

Full text
Abstract:
Assuming that at present the hermeneutic and the empirical paradigm in literary studies are dominant and competing perspectives of research, two questions arise: 1) are the empirical programs of the American and the European (especially German) tradition compatible? To answer this question it appears necessary to look carefully at the motivation, the epistemological foundation, the concept of literature and the aims of research in both traditions. One of the results of the inquiry is that the demarcation line which separates hermeneutic and empirical research is less pronounced in the American tradition. 2) The question is discussed whether “Radical Constructivism” as discussed by S. J. Schmidt and E. von Glasersfeld is a unifying epistemological concept that can take away not only the differences between the empirical programs of Schmidt and Bleich but also the schism between hermeneutics and empiricism.
APA, Harvard, Vancouver, ISO, and other styles
39

Kang, Mia. "Theresa, I Miss You (Arsenale Veneto)." October 170 (October 2019): 146–47. http://dx.doi.org/10.1162/octo_a_00374.

Full text
Abstract:
This poem was written after a long day at the 2019 Venice Biennale. It is from a body of work—spanning research, writing, and performance—dedicated to Theresa Hak Kyung Cha. Cha's seminal autoethnography Dictée has been readily mobilized by the disciplinary demands of both Asian American and literary studies, becoming the beloved exception reifying the rule of the false (and racialized, and gendered) binary between expressivity and innovation. Meanwhile, Cha's visual, video, and performance work has remained relatively obscure. My project for Theresa wants to un-discipline her archive while interrogating my own marking as a “Korean” “American” artist. In order to write this introduction, I had to go into the rain in all white, to move through silence with a hand to my mouth. In addressing these texts and rituals to Theresa, I seek to acknowledge the exchange we make in communing with the lost.
APA, Harvard, Vancouver, ISO, and other styles
40

Andreyev, Catherine. "Performing Tsarist Russia in New York: Music, Émigrés, and the American Imagination. By Natalie K. Zelensky. Bloomington: Indiana University Press, 2019. xi, 235 pp. Notes. Bibliography. Index. Photographs. $35.00, paper." Slavic Review 80, no. 1 (2021): 170–71. http://dx.doi.org/10.1017/slr.2021.53.

Full text
APA, Harvard, Vancouver, ISO, and other styles
41

Proctor, Brittnay L. "The Race of Sound: Listening, Timbre, and Vocality in African American Music by Nina Sun Eidsheim." African American Review 54, no. 1-2 (2021): 175–78. http://dx.doi.org/10.1353/afa.2021.0013.

Full text
APA, Harvard, Vancouver, ISO, and other styles
42

Moreshead, Ashley E. "To "share in the glorious work": Anglo-American Missions and American Baptist Identity in the Early Republic." Early American Studies: An Interdisciplinary Journal 19, no. 3 (2021): 568–600. http://dx.doi.org/10.1353/eam.2021.0018.

Full text
APA, Harvard, Vancouver, ISO, and other styles
43

Holland, Sharon P. ""If You Know I Have a History, You Will Respect Me": A Perspective on Afro-Native American Literature." Callaloo 17, no. 1 (1994): 334. http://dx.doi.org/10.2307/2932141.

Full text
APA, Harvard, Vancouver, ISO, and other styles
44

Peterson, Paul C. "Good Booty: Love and Sex, Black & White, Body and Soul in American Music AnnPowers. HarperCollins, 2017." Journal of American Culture 41, no. 2 (June 2018): 228–30. http://dx.doi.org/10.1111/jacc.12885.

Full text
APA, Harvard, Vancouver, ISO, and other styles
45

Gāle-Kārpentere, Inta. "Latviešu mūzikas grupa "Čikāgas piecīši" kultūru krustcelēs." Letonica, no. 35 (2017): 7–28. http://dx.doi.org/10.35539/ltnc.2017.0035.i.g.k.7.28.

Full text
Abstract:
The article discusses the continued relevance of the Čikāgas Piecīši (The Chicago Five), an American-Latvian musical-comedy troupe that toured Latvian exile communities and performed in Soviet and post-Soviet Latvia over the span of some fifty years. It asks the question: Given the diverse and contentious nature of their global audiences, how did the Čikāgas Piecīši sustain their appeal and their authority as spokespersons for Latvians worldwide? Five sources fundamental to their success are identified and analysed. In their concerts, the Čikāgas Piecīši offered a lively new form of social communication to their audiences. While their biographies connected them with the culture and values of their elders, the cultural authenticity they brought to the stage foregrounded Latvian and American experiences and presented a more inclusive worldview than the one they had inherited. As they gently challenged prevailing boundaries, including those that forbade contact with Soviet Latvia, they changed the register for speaking about Latvian exile life by adding humour to the accustomed solemnity of community programming. Their work extended the notion of intertextuality beyond that of verbal texts to include musical sounds and images. My sources derive from participant-observation over many years, both in the Latvian community in Indianapolis and at Latvian Song Festivals in North America where the performances of the Čikāgas Piecīši were regular crowd pleasers. I consulted reviews and interviews published in the U.S. and in Latvia, articles in exile publications (such as the literary journal Jaunā Gaita), and conducted interviews with members of the group.
APA, Harvard, Vancouver, ISO, and other styles
46

White, Stuart. "‘We are fireworks’: Anarcho-punk, positive punk and democratic individuality." Punk & Post Punk 10, no. 2 (June 1, 2021): 187–200. http://dx.doi.org/10.1386/punk_00085_1.

Full text
Abstract:
This article explores the tensions within and around anarcho-punk concerning individuality and individualism by drawing on George Kateb’s discussion of the normative ideal of ‘democratic individuality’, developed to understand the work of the American Emersonian writers (Emerson, Thoreau, Whitman). The article elaborates the three core ideas of ‘democratic individuality’: positive, negative and impersonal individuality. The article interprets the work of Crass, a founding and influential band in the anarcho-punk scene, as centrally a passionate expression of negative individuality: the individual’s refusal to be complicit with injustice. Engaging Rich Cross’s work on individualism in anarcho-punk, the article explains how democratic individuality both supports and cautions against collective action, using this tension to explain the anxiety around collective action in Crass’s work. Using Kateb’s framework, the article argues that positive punk gives a different ‐ in the context, arguably corrective ‐ emphasis to individual self-expression (positive individuality) and self-transcendence (impersonal individuality). Democratic individuality connects punk/post-punk to a history of argument over what it means to become an ‘individual’; and, going forward, offers a helpful framework for punk/post-punk communities in approaching this value.
APA, Harvard, Vancouver, ISO, and other styles
47

Bryan, Joseph D. "‘Recycling the past to meet immediate needs’: Bad Religion’s approach to history1." Punk & Post Punk 10, no. 2 (June 1, 2021): 221–44. http://dx.doi.org/10.1386/punk_00083_1.

Full text
Abstract:
With the release of their seventeenth album of original music (Age of Unreason, May 2019), Bad Religion has reminded the public that their brand of punk rock is not, and has never been, simplistic, reductive or dismissible. While the language of variegated scientific fields provides co-lyricists Greg Graffin and Brett Gurewitz a consistent trove of terms, concepts and imagery, Bad Religion also scrutinizes the past and draws out historical implications for their socio-political-religious commentary. Through an analysis of Bad Religion’s lyrics, especially focusing on Age of Unreason, this article will argue that Bad Religion uses historical references as dire warnings, rhetorical devices and examples to instantiate their larger moral and philosophical principles. They seek to entangle the present and the past and reveal how narratives of ‘progress’ and American ‘exceptionalism’ are misleading. Bad Religion condenses revolutionary and reactionary historical events into sweeping generalizations of human (usually western) civilization, invoking idealized versions of historical periods (‘Dark Ages’ and ‘The Enlightenment’). While their use of the past is often overgeneralized, Bad Religion examines human history as a record of choices and behaviours that matter to the only existence we have: material and mundane, not transcendental or supernatural.
APA, Harvard, Vancouver, ISO, and other styles
48

Attfield, Nicholas. "From punk into pop (via hardcore): Re-reading the Sub Pop manifesto." Punk & Post-Punk 00, no. 00 (February 19, 2021): 1–17. http://dx.doi.org/10.1386/punk_00086_1.

Full text
Abstract:
Bruce Pavitt’s music fanzine Sub Pop, the first issue of which appeared in 1980, is often presented as a simple case of independent culture versus the reviled mainstream, with little reference to the actual written and graphic content of its pages. This article challenges and complicates that view with an account of Pavitt’s usage of language and specific genre terms – in particular, his tendency to rebrand punk as (indie) ‘pop’. This he reinforces with all manner of written and visual references to 1950s pre-corporate means of production and consumption. In so doing, I argue, he projects what numerous theorists have defined as a ‘genre culture’ based around pop. Pavitt also tries, however, to absorb the immediate indie legacy of hardcore within his genre culture. As the second part of the article demonstrates, this generates stark tensions within his fanzine reviews and other copy – not least when his opening Sub Pop manifesto rejects the toxic masculinity of corporate rock but simultaneously celebrates hardcore’s own carefully policed American, anti-British, anti-theatrical masculinity. Such tensions, I suggest in closing, found their way into Pavitt’s most famous creation, where they were partly, if still messily, resolved: this was the Seattle indie record label, also called Sub Pop, and its signal genre of grunge.
APA, Harvard, Vancouver, ISO, and other styles
49

Potts, Tracey. "18Popular Culture." Year's Work in Critical and Cultural Theory 27, no. 1 (2019): 344–63. http://dx.doi.org/10.1093/ywcct/mbz018.

Full text
Abstract:
Abstract This year’s chapter explores themes of consumption, popular culture, and sustainability in publications from 2018. Starting with the biggest issue we face today—climate change—the aim is to survey and complicate the picture of the consumer and consumer culture by way of refusing some of the more glib accounts of over-consumption. The heavy lifting of the discussion is accomplished by an article that dissects recent scholarship around consumer practice and the environment. This article then forms a framework for looking at books on souvenirs, pop music heritage, digital music, and American popular culture, ending with a sustained look at the cultural anatomy of the hamburger.
APA, Harvard, Vancouver, ISO, and other styles
50

Edwards, Leigh H. "Hidden in the Mix: The African American Presence in Country Music DianePecknold, Editor. Durham, NC: Duke University Press, 2013." Journal of American Culture 37, no. 3 (September 2014): 358–59. http://dx.doi.org/10.1111/jacc.12245.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the bibliographies on the topic 'Music|Performing arts|Native American studies' for other source types:
Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography