Relevant bibliographies by topics / North american music

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

Academic literature on the topic 'North american music'

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

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Journal articles on the topic "North american music"

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

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Boye, Gary R. "Lagniappe: Country Music in North Carolina: Pickin' in the Old North State." North Carolina Libraries 61, no. 3 (2009): 103. http://dx.doi.org/10.3776/ncl.v61i3.167.

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While all Southern states share historical connections in culture and geography, North Carolina is in many ways unique. From the Outer Banks to the industrial Piedmont to the High Country of the west, the state has a unique mix of regions and cultures. Music figures prominently in North Carolina, and its musicians reflect the diversity of the geography. The state’s earliest musicians were the Native Americans, especially the Cherokee, whose music has been recorded and studied in some detail. European-American music has flourishedsince colonial days: in Salem, the Moravian church has sponsored the development of sacred choral and instrumental music for over 200 years. In the early twentieth century a distinct African American blues style originated from the textile mill and tobacco towns of the Piedmont region.
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Paul, David C. "Consensus and Crisis in American Classical Music Historiography from 1890 to 1950." Journal of Musicology 33, no. 2 (2016): 200–231. http://dx.doi.org/10.1525/jm.2016.33.2.200.

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In the late nineteenth century American publishers began to answer a burgeoning demand for histories of classical music. Although some of the authors they contracted are well-known to scholars of music in the United States—most notably Edward MacDowell and John Knowles Paine—the books themselves have been neglected. The reason is that these histories are almost exclusively concerned with the European musical past; the United States is a marginal presence in their narratives. But much can be learned about American musical culture by looking more closely at the historiographical practices employed in these histories and the changes that took place in the books that succeeded them in the first half of the twentieth century. In particular, they shed light on the shifting transatlantic connections that shaped American attitudes toward classical music. Marked at first by an Anglo-American consensus bolstered by the social evolutionary theory of prominent Victorians, American classical music histories came to be variegated, a result of the influence of Central European émigrés who fled Hitler’s Germany and settled in North America. The most dramatic part of this transformation pertains to American attitudes toward the link between music and modernity. A case study, the American reception of Gustav Mahler, reveals why Americans began to see signs of cultural decline in classical music only in the 1930s, despite the precedent set by many pessimistic fin-de-siècle European writers.
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Levine, Victoria Lindsay, and Richard Keeling. "Women in North American Indian Music: Six Essays." Ethnomusicology 38, no. 1 (1994): 175. http://dx.doi.org/10.2307/852276.

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London, Justin. "Recent Rhythmic Research in North American Music Theory." Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory] 1–2, no. 2/2–3 (2005): 163–68. http://dx.doi.org/10.31751/522.

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Levine, Victoria Lindsay, Richard Keeling, and Orin T. Hatton. "Women in North American Indian Music: Six Essays." American Indian Quarterly 16, no. 1 (1992): 98. http://dx.doi.org/10.2307/1185618.

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Oliven, Ruben George. "Comparing Brazilian and North American songs about money." Vibrant: Virtual Brazilian Anthropology 9, no. 1 (2012): 239–73. http://dx.doi.org/10.1590/s1809-43412012000100009.

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This article compares Brazilian and North American popular music. If focuses on the lyrics of songs composed mainly in the first half of the twentieth century when an intense process of national building was taking place in Brazil and the United States. Several of those compositions became classics. Those songs were and still are very popular because they echoed and continue to echo the social imaginary of both countries. It is for this reason that popular music is so crucial for the understanding of both societies.
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Shuvera, Ryan Ben. "Southern Sounds, Northern Voices." Journal of Popular Music Studies 30, no. 4 (2018): 177–90. http://dx.doi.org/10.1525/jpms.2018.300412.

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Wilf Carter (Montana Slim) crossed the Canadian-U.S. border in 1935 to further his career as a country musician. Hank Snow moved to Nashville in 1945, reaching the stage of the Grand Ole Opry in 1950. Twenty-one years later Neil Young settled into Nashville’s Quadraphonic Sound Studio to record songs that would be featured on the album Harvest. Today, Nashville’s New West Records represents country-inspired Canadian musicians Daniel Romano and Corb Lund. These artists make up part of a notable history of northerners blending North American identities through country music. A significant and overlooked part of this history came to light in 2014 with the release of the Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985 compilation from Light In The Attic Records. NNA (Vol. 1) is a collection of limited releases from Indigenous musicians from across Canada and Alaska. It is significant because it makes audible that Indigenous musicians performed—and continue to perform—country, folk, and rock music, challenging the borders and identities forced on them through settler-colonialism. These artists bring together southern sounds and northern voices—often using northern Indigenous languages—to articulate different experiences under North American colonization. This paper begins to explore how artists such as Willie Dunn, John Angaiak, and William Tagoona unsettle North American boundaries and identities through country music. This paper also begins to explore the opportunities and challenges this compilation presents to white settler listeners.
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BELL, LARRY, and ANDREA OLMSTEAD. "Musica reservata in Frederic Rzewski's North American Ballads." Musical Quarterly LXXII, no. 4 (1986): 449–57. http://dx.doi.org/10.1093/mq/lxxii.4.449.

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Brand, Manny, and Lori Dolloff. "Fantasies and Other Romanticized Concepts of Music Teaching: A Cross-Cultural Study of Chinese and North American Music Education Students’ Images of Music Teaching." International Journal of Music Education os-39, no. 1 (2002): 17–30. http://dx.doi.org/10.1177/025576140203900103.

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Within an international context, this article reports on the use of drawings by Chinese and North American music education majors as a means of examining these students’ images, expectations, and emerging concepts of music teaching. By studying and discussing these drawings within the methods class, it is hoped that these music education majors could project their present orientation toward music teaching. Several common themes were seen in both the Chinese and North American drawings. Individual drawings are analyzed and included as evidence of archetypal images and signifiers. It is proposed that these students’ drawings might serve as a means of uncovering, analyzing, and challenging music education students as they begin the career-long task of reconciling romanticized notions with more realistic experiences in teaching music.
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Dissertations / Theses on the topic "North american music"

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Pringle, Wendy. "Remediating lost pop: the recirculation of North American B-Music." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121540.

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This thesis looks at the role of older North American pop music as cultural waste in new media environments. It builds on existing scholarship examining the political implications of collecting, recirculating and archiving cultural ephemera. I argue that as discredited and obsolete media, the discarded physical remains of failed or forgotten music— such as old vinyl records—provide personal and alternative ethnographies of North American mass culture. Crucial to this research is the concept of remediation, whereby media are made and remade in new conditions. In particular, I examine an assemblage of music I call 'B- music' (from B-movie) that is revisited primarily for its weirdness. Failed eccentrics, forgotten trends, indecipherable outsiders and other such curiosities are viewed as transgressive or revelatory after having been excavated and re-articulated as such. While such content has conventionally been relegated to the secondhand stores and donation bins that have constituted the networks of recirculation, they are increasingly accessible to less serious collectors and listeners through digitally mediated channels. I argue that remediating such content, or converting it to digital formats, making it available to global audiences via the internet, performs a valuable process in revisiting and reshaping the history of cultural industries.<br>Cette thèse examine le rôle de « déchet culturel » que joue la musique populaire nord- américaine des générations passées dans le contexte des nouveaux médias. En m'appuyant sur des études existantes des implications politiques de la collection, de la remise en circulation et de l'archivage des biens culturels éphémères, j'argumente qu'en tant que moyens de communication discrédités et désuets, les supports physiques de musiques oubliées ou sans succès, tels que les disques de vinyle, fournissent des ethnographies alternatives et personnelles de la culture de masse nord-américaine. Le concept de remédiation, c'est-à-dire la retranscription des anciens médias dans de nouveaux contextes, est crucial. J'explore en particulier un type de musique que j'appelle « de série B », dont l'intérêt réside principalement dans son étrangeté : excentricités hermétiques, tendances oubliées et autres curiosités sont considérées comme révélatoires ou transgressives après leur exhumation et leur réarticulation. Bien que de tels contenus aient traditionnellement été relégués à des magasins d'occasion et des organismes de charité formant des réseaux de recirculation, ils sont de plus en plus accessibles par voie numérique aux collectionneurs et auditeurs moins sérieux. Je soutiens que la remédiation et la conversion en format numérique de ces contenus, en les rendant disponibles à un public global via Internet, contribue de manière importante à la réévaluation et à la révision de l'histoire des industries culturelles.
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Kim, Sujin. "UNDERSTANDING RZEWSKI'S NORTH AMERICAN BALLADS: FROM THE COMPOSER TO THE WORK." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1262054539.

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Nyce, Zachary David Robert. "Heartening Folk: Frederic Rzewski's North American Ballads as an Extension of Folk Culture." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1558449012996443.

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Damm, Robert J. 1964. "American Indian Music in Elementary School Music Programs of Oklahoma : Repertoire, Authenticity and Instruction." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278099/.

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The purpose of this study was to determine the instructional methods of Oklahoma's elementary school music educators with respect to the inclusion of an authentic repertoire of American Indian music in the curriculum. The research was conducted through two methods. First, an analysis and review of adopted textbook series and pertinent supplemental resources on American Indian music was made. Second, a survey of K-6 grade elementary music specialists in Oklahoma during the 1997-1998 school year was conducted.
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Moses, Lennard V. "A cultural analysis of Afro-Caribbean rhythm, strumming, and movement for the North American school steelband." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228186937.

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Hayashi, Kim. "The keyboard music of Frederic Anthony Rzewski with special emphasis on the "North American Ballads"." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187152.

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"The Keyboard Music of Frederic Anthony Rzewski With Special Emphasis on the North American Ballads" focuses on the piano works by Frederic Anthony Rzewski. Opening chapters are devoted to Rzewski's life and his activities, particularly his special political and social associations, and those musicians, composers and performers who have been an important part of his life, and to the development of his music. There is a special chapter on the piano variations The People United Will Never Be Defeated, as this piece brought to fruition many of Rzewski's compositional techniques, particularly those used in the North American Ballads. As Rzewski suggested that this author investigate the folk music of North America, a chapter centered on those aspects of folk music used in the Ballads is also contained herein. The paper is focused on an in-depth analysis of the North American Ballads with a fully-annotated score. A chapter on some of Rzewski's other important piano pieces and a complete works list is also included.
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Pisani, Michael Vincent. "Exotic sounds in the native land : portrayals of North American Indians in Western music /." Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb40063830k.

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Diss.--Philosophy--Rochester (N.Y.)--Eastman School of music, 1996.<br>Liste chronologique des oeuvres musicales inspirées des indiens d'Amérique du nord (1768-1946) p. 526-557. Sources et bibliogr. p. 576-604.
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Bond, Vanessa LeBlanc. "Sounds to Share: The State of Music Education in Three Reggio Emilia-Inspired North American Preschools." Case Western Reserve University School of Graduate Studies / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=case1333739293.

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Tapia, Daniel 1986. "A orquestra sinfônica do cinema norte-americano = o exemplo de Bernard Hermann = The orchestra of the north american cinema: the example of Bernard of Hermann." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284554.

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Orientador: Claudiney Rodrigues Carrasco<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-22T12:02:56Z (GMT). No. of bitstreams: 1 Tapia_Daniel_M.pdf: 14272942 bytes, checksum: 9f7fd217aa65e88d5db9766c4be0e787 (MD5) Previous issue date: 2012<br>Resumo: Esta pesquisa teve por finalidade demonstrar o processo pelo qual caminhou a linguagem da orquestração até sua chegada à trilha musical cinematográfica e, posteriormente, trazer à tona os processos adquiridos na música de cinema tendo a obra de Bernard Herrmann como exemplo. Ao observar a produção musical da primeira década do cinema norte americano, é possível perceber que a orquestração sinfônica do cinema é um dos frutos diretos do desenvolvimento da instrumentação e orquestração de concerto como linguagem. Para demonstrar este processo, estruturou-se uma análise cronológica das obras de compositores ligados ao contexto de produção germânico, considerado mais próximo em sua relação com a prática assumida pela música do cinema. Em um segundo momento, apresenta-se uma análise semelhante dos compositores que precedem Bernard Herrmann, considerados pilares de formação da linguagem musical no cinema. A terceira fase, por sua vez, trata da obra de Herrmann como um todo e analisa as peças compostas para Vertigo (1958) e Psycho (1960), ambas as produções dirigidas pelo cineasta Alfred Hitchcock<br>Abstract: This research has the aim of demonstrate the process on which the language of orchestration pervaded up to its arrival at film music composition and after, bring upon the processes acquired by film music using Bernard Herrmann's work as an example. On observing the musical production of the first decade of the north american cinema, it is possible to infer that the symphonic orchestration of cinema is one of the direct results of the concert music orchestration. To demonstrate this process, an cronological analysis of the works of the german composers was structured, considering this the closer model of cinema production. In advance, an equal analyses is made with the works of the cinema composers who preceeded Herrmann, considered references to the formation of the language. The third fase deals with Herrmann's work directly and analyses two of his works: Vertigo (1958) and Psycho (1960)<br>Mestrado<br>Fundamentos Teoricos<br>Mestre em Música
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Lorenz, Stephen Fox. "Cosmopolitan Folk| The Cultural Politics of the North American Folk Music Revival in Washington, D.C." Thesis, The George Washington University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3615789.

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<p> This dissertation looks at the popular American folksong revival in the Washington, D.C., metropolitan region during the Cold War and Civil Rights era. Examination of folk revival scholarship, local media reports and cultural geography, and the collected interviews and oral histories of Washington area participants, reveals the folk and blues revival was a mass mediated phenomenon with contentious factions. The D.C. revival shows how restorative cultural projects and issues of authenticity are central to modernity, and how the function of folksong transformed from the populist, labor oriented Old Left to the personalized politics of the New Left. This study also significantly disrupts often romantic scholarship and political narratives about the folk revival and redirects the intellectual attention on New York, Chicago, and San Francisco towards the nation's capital as an overlooked site of cultural production. Washington's "folk world" of music clubs, coffeehouses, record collectors, disc jockeys, performers, folklorists, and folk music aficionados drove folk music studies towards context and cultural democracy, but the local insistence on apolitical, traditional, and rural forms of folksong as the most genuine reinscribed racial and class hierarchies even as they enhanced Washington's status. Washington, D.C., shifted the loose folk revival "movement" into permanent cultural institutions and organizations, and the city gained a cosmopolitan reputation for authentic folk music that intermingled with its regional culture and identity as the nation's capital and site of public protest.</p>
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Books on the topic "North american music"

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1949-, Hemphill David, and Vander Woude Matthew 1953-, eds. North American popular music. Nelson Education, 2009.

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North American Indian music. F. Watts, 2002.

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Diamond, Beverley. Native American music in eastern North America: Experiencing music, expressing culture. Oxford University Press, 2008.

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Greg, Gombert, ed. Native American music directory. Book Pub. Co., 1997.

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Gombert, Greg. Native American music directory. 3rd ed. Music Cafe Publishing, 2003.

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Hadley, Peter D. New music for gamelan by North American composers. Distributed by American Gamelan Institute, 1993.

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Hadley, Peter. New music for gamelan by North American composers. American Gamelan Institute, 1996.

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Price, Lew Paxton. Native North American flutes. L.P. Price, 1990.

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North American fiddle music: A research and information guide. Routledge, 2011.

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Eagle, Douglas Spotted. Voices of Native America: Native American instruments and music. Eagle's View Pub., 1997.

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Book chapters on the topic "North american music"

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Carruthers, A. J. "Long Poem Including Music: Reading the Score in Armand Schwerner’s “Tablet XII”." In Notational Experiments in North American Long Poems, 1961-2011. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-46242-4_2.

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Carruthers, A. J. "“Music for Posterity”: Afterlives for the Score in Anne Waldman’s The Iovis Trilogy." In Notational Experiments in North American Long Poems, 1961-2011. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-46242-4_5.

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Bates, Vincent C., Daniel J. Shevock, and Anita Prest. "Cultural Diversity, Ecodiversity, and Music Education." In The Politics of Diversity in Music Education. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_12.

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AbstractDiversity discourses in music education tend toward anthropocentrism, focusing on human cultures, identities, and institutions. In this chapter, we broaden conceptualizations of diversity in music education to include relationships between music, education, and ecology: understood as interactions among organisms and the physical environment. Diversity in music education can be realized by attending to the ongoing interrelationships of local geography, ecology, and culture, all of which contribute dynamically to local music practices. We situate our analysis within specific Indigenous North American cultures (e.g., Western Apache, Nuu-chah-nulth, Stó:lō, and Syilx) and associated perspectives and philosophies to shed light on the multiple forms of reciprocity that undergird diversity. Indigenous knowledge, in combination with new materialism and political ecology discourses, can help us come back down to earth in ways of being and becoming that are ecologically sustainable, preserving the ecodiversity that exists and grows in place, forging egalitarian relationships and a sense of communal responsibility, fostering reverence for ancestors along with nonhuman lives and topographies, and cultivating musical practices that are one with our respective ecosystems.
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Dueck, Byron. "Music of Indigenous North America." In Excursions in World Music. Routledge, 2020. http://dx.doi.org/10.4324/9780429433757-12.

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Dueck, Byron. "Music of Ethnic North America." In Excursions in World Music. Routledge, 2020. http://dx.doi.org/10.4324/9780429433757-13.

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Miller, Terry E., and Andrew Shahriari. "North America: Canada and the United States." In World Music. Routledge, 2020. http://dx.doi.org/10.4324/9780367823498-13.

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Temperley, Nicholas. "Worship Music in English-Speaking North America, 1608-1820." In Taking a Stand, edited by Timothy McGee. University of Toronto Press, 1995. http://dx.doi.org/10.3138/9781487578008-012.

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Matsunobu, Koji. "Creativity and Embodiment in Pre-modern Japan and Twenty-First Century (North) America." In Creativity in Music Education. Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-2749-0_7.

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Mangum, Charles Christopher, and Randall Everett Allsup. "Aesthetics Movement in North America and Reimer’s Contribution to Music Education." In Encyclopedia of Educational Philosophy and Theory. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-287-532-7_686-1.

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Reed, Douglas. "North American organ music after 1800." In The Cambridge Companion to the Organ. Cambridge University Press, 1999. http://dx.doi.org/10.1017/ccol9780521573092.021.

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Conference papers on the topic "North american music"

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Walzer, Daniel. "Building the North American Graduate Music Business Database: Pedagogical, Philosophical, and Theoretical Implications." In MEIEA Summit 2020. Music and Entertainment Industry Educators Association, 2020. http://dx.doi.org/10.25101/20.33.

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Corum, Kimberly, Kara Melike, Emma Talbot, and Tatiana Ilina. "An analysis of students’ mathematical models for Music." In 42nd Meeting of the North American Chapter of the International Group for the Psychology of Mathematics Education. PMENA, 2020. http://dx.doi.org/10.51272/pmena.42.2020-146.

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Oramas, Sergio, Massimo Quadrana, and Fabien Gouyon. "Bootstrapping a Music Voice Assistant with Weak Supervision." In Proceedings of the 2021 Conference of the North American Chapter of the Association for Computational Linguistics: Human Language Technologies: Industry Papers. Association for Computational Linguistics, 2021. http://dx.doi.org/10.18653/v1/2021.naacl-industry.7.

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