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1
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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Thibodeau, Anthony. "Anti-colonial Resistance and Indigenous Identity in North American Heavy Metal." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1395606419.
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Fleming, Timothy J. "Awfully affecting : the development of a sentimental tradition in the lyrics of British and North American popular song." Thesis, University of Strathclyde, 1999. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=21401.
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This study starts by offering an account of the multi-faceted ongins of sentimentality, and its importance as an innovative and influential cultural force. The origins of commercial popular song and the high period of sentimentalism are contiguous, and it is argued that a sentimental tradition in popular song develops alongside those in the more familiar areas of literature and painting. The sentimental song tradition includes both secular and sacred lyrics, and it is shown, significantly, that modern hymnody (which has informed much subsequent secular popular music) has sentimental roots. The tradition is traced sequentially via the work of the key sentimental lyricists until the mid-nineteenth century when the increasing volume and variety of British and American popular song makes such a historical approach less feasible. The thesis then analyses favourite sentimental song lyric motifs as they occur in different types of popular song at different times, and two particularly well-defined aspects of the repertoire - the Irish sentimental song and lyrics about the hereafter - are explored in terms of how they offer alternative realities. Sentimental song, because of its didactic origins, has always been concerned with achieving effects - typically producing tears - rather than being original. Its use of a limited pool of stock themes to this end makes it a cultural product that is easy to 'manufacture', and it has a ready audience because it affords a pleasurable indulgence - often a characteristic 'happiness in unhappiness' - while at the same time giving proof of sensibility (and, in the eighteenth century, proof of moral and aesthetic probity). The continuing appeal of sentimental popular song is explained in terms of its aptness in extreme social and personal situations, as well as its ability to offer a heart-warming alternative to more objective or despairing views of the world.
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Thomas, Lisa Cheryl. "Native American Elements in Piano Repertoire by the Indianist and Present-Day Native American Composers." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28485/.
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My paper defines and analyzes the use of Native American elements in classical piano repertoire that has been composed based on Native American tribal melodies, rhythms, and motifs. First, a historical background and survey of scholarly transcriptions of many tribal melodies, in chapter 1, explains the interest generated in American indigenous music by music scholars and composers. Chapter 2 defines and illustrates prominent Native American musical elements. Chapter 3 outlines the timing of seven factors that led to the beginning of a truly American concert idiom, music based on its own indigenous folk material. Chapter 4 analyzes examples of Native American inspired piano repertoire by the "Indianist" composers between 1890-1920 and other composers known primarily as "mainstream" composers. Chapter 5 proves that the interest in Native American elements as compositional material did not die out with the end of the "Indianist" movement around 1920, but has enjoyed a new creative activity in the area called "Classical Native" by current day Native American composers. The findings are that the creative interest and source of inspiration for the earlier "Indianist" compositions was thought to have waned in the face of so many other American musical interests after 1920, but the tradition has recently taken a new direction with the success of many new Native American composers who have an intrinsic commitment to see it succeed as a category of classical repertoire. Native American musical elements have been misunderstood for many years due to differences in systems of notation and cultural barriers. The ethnographers and Indianist composers, though criticized for creating a paradox, in reality are the ones who saved the original tribal melodies and created the perpetual interest in Native American music as a thematic resource for classical music repertoire, in particular piano repertoire.
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Moses, Lennard V. "A Cultural Analysis of Rhythm, Strumming, and Movement for the North American School Steel Band." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1228186937.
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Siddons, Kyle. "Utilizing North American Art Song Settings of Psalm Texts in Worship Services: an Annotated Guide for Singers, Voice Instructors, and Music Ministers." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500200/.
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This dissertation provides a guide for appropriate use of North American art song settings of biblical psalms for solo voice written after 1950 in the worship services of Christian faiths. The songs analyzed are for all voice parts and a variety of accompanying ensembles. The placement of each song on a specific calendar day is guided by the individual church calendars and lectionaries, on the prevalent themes of the text, and the characteristics of the musical setting. Performance of these songs only in a concert setting limits their usefulness for singers, voice teachers, and music directors alike. A new and worthy performing context can be established by analyzing the text and musical settings.
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Humphrey, Ashley Renee. "Where's the Roda?: Understanding Capoeira Culture in an American Context." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1543574890650575.
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Johnstone, Jennifer Lynn. "Reinterpreting Welshness: Songs and Choral Membership in Cultural Identity." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334520975.
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Davis, Peter. ""Woven Into the Deeps of Life": Death, Redemption, and Memory in Bob Kaufman's Poetry." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/pomona_theses/220.
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The scholars who have taken up the task of writing about Bob Kaufman have most often done so in response to a perceived demand: the lack of Kaufman scholarship, readership, anthology, publicity, canonization. The basis of this need is clear: Kaufman is almost never included as even a third-string Beat, a fringe Surrealist, or an underappreciated Jazz performer. To the committed readers of Kaufman – and almost all of his readers seem to be committed ones – it’s unforgivable. These various canons, major (mid-century American poets, Beat poets) and minor (Jazz poets, American Surrealists), are clearly missing one of their most important members. The task is to reintegrate Kaufman into the company it seems he has been omitted from, the company he deserves. The problem is that once the critic has overcome all the resistance – the capitalist publishing industry, the prison system, the white-dominated west coast poetry setting, the public demands of aesthetic production – she is resisted by the poetry itself, and by Kaufman the poet. Along the lines of Claude Pelieu’s back jacket blurb of Golden Sardine – “in spite of his continuing exclusion from American anthologies, both Hip & Academic” – Kaufman has excluded the anthology, the academy. I will read death through various critical lenses – some with nearly universal critical currency among readers of Kaufman, some with little – as Kaufman’s “FOUNT OF THE CREATIVE ACT.” But this thematic circumscription is also a reading of endurance, even of life. Kaufman writes: “[THE POET’S] DEATH IS A SAVING GRACE.” This becomes the vital relation at the center of my project: how does Kaufman, like Lorca, survive in his poem? How does Kaufman’s political poetry relate with poetic death and redemption? How does jazz involve these things? Does death exist? I want to know . . .
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Stiegler, Morgen Leigh. "African Experience on American Shores: Influence of Native American Contact on the Development of Jazz." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1244856703.
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Gutekunst, Jason Alexander. "Wabanaki Catholics: Ritual Song, Hybridity, and Colonial Exchange in Seventeenth-Century New England and New France." Miami University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=miami1229626549.
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Gauthier-Rahman, Nicolas. "Esthétique(s) de la métamorphose : Alvin Lucier, performance et propagation." Thesis, Paris Est, 2018. http://www.theses.fr/2018PESC2194.
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Cette thèse présente une analyse problématisée de la démarche musicale très particulière du compositeur nord-américain Alvin Lucier (1931), désignée comme performance musicale. Que voudra Lucier après une césure compositionnelle de dix ans après avoir été pourtant lauréat de prix de composition ? Quel est son bagage et quels sont donc ses enjeux compositionnels, notamment par rapport au contexte de l'avant-garde de l'époque ? Quel est d'ailleurs son rapport au modèle européen ? Cette étude montre alors la très grande originalité de Lucier, artiste connu mondialement, mais finalement peu dans le détail, inscrite dans le contexte général de l'art performatif américain, peu abordé également en musicologie française hormis les collaborations de Cage avec Cunningham, Rauschenberg ou Tudor qui seront vus ici en compagnie de bien d'autres personnalités du théâtre, de la danse, des arts plastiques, notamment dans des moments exceptionnels de rencontres tels les soirées des 9 Evenings ou celles données dans le loft de Yoko Ono. L'approche de Lucier permet de percevoir ainsi frontalement, en plus des aspirations d’une génération d'artistes qui a 30 ans au seuil des années 1960 très revendicatrices politiquement et socialement, une perception nouvelle de l'objet d'art, délaissé pour le mouvement, et qui voit alors Lucier se porter vers une scène, vers une scène du son, vers une musique qui soit scène de l'audition, vers donc une scène proprement performative. D'où vient le son, quelles en seraient ses coordonnées dont Lucier est bien rétif à accepter la certitude, quel le lieu exact de l'audition, telles sont des questions récurrentes chez Lucier et de la récurrence desquelles il fait art et, bien entendu, musique. S'il manie en conséquence un étonnant mélange de sciences physiques, d'éthologie, d'alchimie, de poésie, d'aléatoire, il en ressort une conception propre et passionnante de la causalité, de l'environnement, de l'écologie, lesquelles seront à percevoir également dans leurs contextes d'apparition. Imperceptiblement, pas à pas, mais radicalement, Lucier sort la musique du champ musical strict bien avant le sound art, dont il devenu postérieurement une icône, ou avant le fied recording qu'il déborde, en ouvrant la musique à prendre à égalité d'inspiration et même en homologues les sciences, physiques et cosmologiques notamment, les animaux, un art à l’aveugle, voire une pensée ésotérique si tant qu'elle offre un modèle unificateur au-delà des apparences des choses. En effet, la nature ondulaire du son permet à Lucier de franchir les portes (du son) et de constituer une problématique perpétuelle de la propagation et de la conversion où le performer interroge, en forme d'art, les trajets, translations et métamorphoses du son dans des canaux différents. Ceux-ci peuvent être ceux de la mémoire, des milieux physiques environnants, ou même encore des formes puisque Lucier, moderne alchimiste, peut promouvoir un son plus que sonore, un son physique, un son visuel, voire un son de l'inaudible, en tous les cas un son circulant et qui rend perméables des dimensions hétérogènes. Devant ces conversions physiques et mentales qui sont, de fait, des bouleversements, c’est donc toute une aventure intellectuelle inédite, et qui a des grandes répercussions sur la musique d'aujourd'hui, que cette thèse veut mettre à l'honneur en couvrant la très longue carrière de Lucier, toujours bien actif<br>This PhD dissertation describes how north american composer Alvin Lucier (1931) found his path in composing music once he figured out his previous musical training lead him to an aesthetic dead end. Not without good sense of humor Lucier had to cope with lack of inspiration for almost a decade and focused mainly on conducting a contemporary music choir before he could take up a new composing perspective. His art, that one might define as performance art, has a form obviously different from what is commonly called (art) performance and is related to an art trend that was rising up within the Fifties and the Sixties. Lucier's music belongs to this history of american experimental and performative art, a topic barely known in french musicology at the exception of Cage's famous collaborations with either Cunningham, Rauschenberg or Tudor. These oversteppings of the bounds of the music field of the time as well Lucier's music itself indeed must be looked into at the light of the works of young artists who were often friends and working on common projects, be they dancers, musicians, painters or sculptors. All have altered the meaning of the word "to perform". Lucier amazing example helps to catch a glimpse on some artists who were on their thirties at the turning of the Sixties while their works help in turn to understand how in his case Lucier has considered music (and hearing) as if taking place on a stage. Where does a sound come from, on what stage, where hearing really takes place, these questions could be Lucier's ultimate seek motives. If his musical thinking therefore seems to deal with various matters as diverse as chance procedures, physics, ethology, poetry, alchemy his conception of what causality, environment or ecology are proves very consistant. All were new topics that must be now carefully driven back to their original backgrounds. To sum it up now in one sentence, the physical aspect of sound as a wave including a wavelenght that can be felt by the human body in different sensorial ways gave Lucier the opportunity, or so to say, the excuse to create a sound propagation art where sound is as much physically reflected as mentally thought over along the many conversions Lucier provokes. For Lucier sound is a puzzling question whom he surveys in all its manifestations be they its trajectories, transformations or even its metamorphosis so far as Lucier seems a modern alchemist willing to make the sound visible, haptic, or audible if litterally inaudible. Besides being a still active, highly influent composer and a seminal sound art icon, Lucier's long career displays thus a complete intellectual adventure that deserves to be pointed out in its most relevant and breaking features
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Bowles, Kathleen E. "An Ahousat elder's songs : transcription and analysis." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/42066.
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This study examines the development of a comprehensive
transcription method for Northwest Coast Native music. In the past,
ethnomusicologists have presented methodologies which sometimes lacked
data useful for present comparative studies. For this reason, research for
this study was conducted in the field to gain a more complete
understanding of both musical and cultural characteristics. Eighteen
songs were recorded for this study between November 1990 and February
1991. They were sung by Mr. Peter Webster, an Ahousat elder of the
Central Nuu-chah-nulth people located on Flores Island near Tofino on
Vancouver Island, British Columbia. Melodies, drum rhythms and song
texts were discussed in depth with Mr. Webster, thus providing many
musical and cultural insights from an 'emie' (inside) point of view. Much
of this information is included with the song transcriptions and analyses.
Song texts are presented in the T'aat'aaqsapa dialect of the Nuu-chah-nulth
language, together with English translations, Comparisons are also made
with Ida Halpern's 1974 recording, Nootka: Indian Music of the Pacific
Northwest to determine the extent of musical continuity and variation over
this brief period.
One of the limitations of my work has been the lack of opportunity to
record songs during the ceremonies in which they are usually performed,
such as potlatches or tlukwanas. Another limitation has been the Western
notation system, which, as received, is not sufficiently flexible for the
transcription of Native music. For this study, additional descriptive signs
have beau created to adapt the Native musical characteristics to the
Western notation system. While the method developed in this study has
facilitated the transcription of Nuu-chah-nulth music, there is still a need
for further development of an independent notation system.
A clear, comprehensive transcription method, flexible enough to
accommodate this music, has been the primary aim of this study. If this
transcription method is useful for transcribing other Native musics, then
future comparative music studies will benefit from it.<br>Arts, Faculty of<br>Music, School of<br>Graduate
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Pyall, Nicholas. "The Viennese guitar and its influence in North America : form, use, stringing, and social associations." Thesis, London Metropolitan University, 2014. http://repository.londonmet.ac.uk/702/.
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This thesis evaluates the technological developments of the nineteenth-century guitar that provided the basis for the emergence of the steel-strung instrument. It investigates changing use, cultural significance, and shifts in social association during this period. It maps and characterises Georg Staufer’s achievement in Vienna, and traces the progress of his innovations through the work of his immediate successors and of those European guitar makers who migrated to North America, whose designs heralded the emergence of the steel-string guitar. It assesses Staufer’s developments, in patents, catalogues and other primary documents, and compares those of his extant guitars, including examples with extra bass strings, which are accessible in museum and private collections. It asks how crucial changes in stringing (number of strings, tension, and material), c1880-c1920, led to profound but hitherto little-studied changes in sound and use; and by examining representation in press reviews and other reception evidence from Vienna and America, it assesses how the societal standing, signification and social associations of the guitar shifted, and demonstrates the basis of this in a complex web of technological and social change in the nineteenth century.
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Hosler, Ned Mark. "The brass band movement in North America : a survey of brass bands in the United States and Canada /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487776210793062.
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Lechusza, Alan. "Without reservations : native hip hop and identity in the music of W.O.R. /." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3371707.
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Thesis (Ph. D.)--University of California, San Diego, 2009.<br>Title from 1st page of PDF file (viewed Sep. 16, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references and discography: P. 249-276.
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Matiure, Sheasby. "Performing Zimbabwean music in North America an ethnography of mbira and Marimba performance practice in the United States /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3344589.
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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2008.<br>Title from PDF t.p. (viewed on Oct. 5, 2009). Source: Dissertation Abstracts International, Volume: 70-02, Section: A, page: 0649. Adviser: Ruth M. Stone.
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Castro, J. Justin. "Music heard deeply : song and ethnic interaction in the Cherokee Ozarks /." Read online, 2008. http://library.uco.edu/UCOthesis/CastroJJ2008.pdf.
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Silva, Daniela Fernanda Gomes da. "O som da diáspora : a influência da black music norte-americana na cena black paulistana." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/100/100135/tde-18072013-182513/.
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. A presente dissertação tem por objetivo observar a influência da black music norte-americana na formação da identidade dos jovens negros que frequentam as festas da cena black paulistana. Para isso, procura-se debruçar sobre os fatores históricos, sociais, culturais e políticos que propiciam essa dinâmica. A motivação para a realização do trabalho nasce da participação em eventos nos dois países em diferentes momentos, onde se fez perceptível certa semelhança no comportamento dos jovens, o que despertou o desejo de investigar quão profundos seriam esses laços entre grupos tão distintos. A partir da perspectiva dos Estudos Culturais intenta-se mostrar como há mais de quatro décadas a black music atua como um elo entre povos da diáspora africana. O embasamento teórico e as entrevistas realizadas permitem contextualizar o fenômeno e trilhar um percurso que demonstra como a partir da escravidão e da forma como o pensamento racial se estruturou, a sociedade brasileira foi gerada de forma excludente deixando o negro sem referenciais positivos para formar sua identidade, o que faz com que as manifestações afro-americanas sirvam de inspiração, ainda que existam diferenças nas relações raciais nos dois países. Essa aproximação se dá principalmente no campo cultural, em especial por meio da música, que se manifesta na diáspora como um memorial à ancestralidade africana. Essa dinâmica tem início ainda na década de 1970 com os grandes bailes blacks, se transforma na década de 1980 com o surgimento do movimento hip hop em São Paulo e chega ao século 21, em uma nova fase de baladas blacks que podem ser vistas como um forte exemplo das mudanças ocorridas no novo milênio a partir do advento da globalização. Utilizo como metodologia a pesquisa bibliográfica, por meio de livros, vídeos e websites além de observações realizadas a partir de experiências pessoais e entrevistas, o que permite uma maior compreensão do fenômeno.<br>This dissertation aims to observe the influence of American black music in the identity formation of the black youth who attend the black party scene in Sao Paulo city. We look into the historical, social, cultural and political factors that favor this dynamic. The motivation is participation in events in both countries at different moments, which aroused the desire to investigate these deep ties between such distinct groups. From the Cultural Studies perspective we show how American black music has played a role in the link between diaspora people. The theoretical basement and the interviews allows us to contextualize this phenomenon and to view a path showing how from slavery the way racial thought was structured in Brazilian society has generated exclusionary ideas which didnt give positive influences for the black identity. That makes the African American manifestations serve as inspirations even if there are differences in the racial relations in both countries. This approximation occurs mainly in the cultural field. Especially through the music, which manifests in the diaspora as a memorial to the African inheritance. This dynamic started in the 1970s at huge black balls and underwent a transformation in the 1980s with creation of the hip hop movement in Sao Paulo and arrives to the 21st century in a new phase of black clubs which can be observed as a strong example of the changes that globalization has brought. As methodology I used bibliographical research through books, videos, sites and also observations through personal experiences and interviews which allow better comprehension of the phenomenon.
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Villarreal-Licona, Aida M. ""Pa'l Norte," "Sueño Americano" e "Ice El Hielo": Un Análisis del Video Musical en el Desmontaje de la Retórica Anti-Inmigrante en los Estados Unidos." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/884.
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This thesis is an analytical case study of three music videos, "Pa'l Norte" by Calle 13, "Sueño Americano" by Los Rakas, and "Ice El Hielo" by La Santa Cecilia. It explores the visual and lyric narratives of these works and their role in critiquing anti-immigration rhetoric towards Latino immigrants in the United States in a post-9/11 context. Through critical analysis, this thesis argues that their work is vital in dismantling the dehumanizing and criminalizing language prevalent in legal and popular discourse, as well as challenging the manifestations of everyday "illegality."
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Wasserman, Garry. "String Bass Lutherie in North America, A Compendium of Makers and Examples, 1788-1970." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1337956850.
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Lancia, Julio Cesar. "Discussões sobre o minimalismo musical norte-americano : processos, repetição e tecnologia /." São Paulo : [s.n], 2008. http://hdl.handle.net/11449/95101.
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Orientador: Lia Vera Tomás<br>Banca: Yara Borges Caznók<br>Banca: Paulo de Tarso Cambraia Salles<br>Resumo: O minimalismo musical de La Monte Young, Terry, Riley, Steve Reich e Philip Glass foi chamado, entre outros rótulos, de música repetitiva, modular, de pulsação, de processos e estática - e, portanto, não-teleológica - antes que o termo minimalismo prevalecesse. Uma vez que tais termos não são infundados e refletem características percebidas no minimalismo, este trabalho tenta definir as idéias por trás desses rótulos. O trabalho também discute os procedimentos mais típicos adotados por cada um dos quatro compositores mencionados, apontando as mudanças de feições na produção desses compositores entre as décadas de 1960 e 70, período normalmente utilizado como referência para estudos.<br>Abstract: The musical minimalism of La Monte Young, Terry, Riley, Steve Reich and Philip Glass had been called, among other labels, repetitive, modular, pulse, process, and static - and as a result, a-teleological - music before the name minimalism finally caught on. Since those labels reflect, at least in part, some of the features commonly found in the style, this study attempts to define the concepts behind such labels. This work also discusses some of the most typical procedures adopted by the four composers aforementioned, pointing their changing style during the 1960s and 70s, period often used as a reference for studies.<br>Mestre
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Haas, Benjamin D. "Singing Songs of Social Significance: Children's Music and Leftist Pedagogy in 1930s America." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9777.
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Harper, A. C. "Lo-Fi aesthetics in popular music discourse." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:cc84039c-3d30-484e-84b4-8535ba4a54f8.
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During the late twentieth and early twenty-first centuries, 'lo-fi,' a term suggesting poor sound quality, the opposite of 'hi-fi,' became a characteristic perceived in certain popular-music recordings and eventually emerged as a category within independent or 'indie' popular music. It is typically taken to express the technical and technological deficiencies associated with amateur or 'DIY' musical production, namely at home using cheap recording equipment. However, this thesis rejects the assumption that lo-fi equates to a mode of production and charts it as a construction and a certain aesthetics within popular music discourse, defined as 'a positive appreciation of what are perceived and/or considered normatively interpreted as imperfections in a recording.' I chart the development and manifestation of lo-fi aesthetics, and the ways it focuses on various 'lo-fi effects' such as noise, distortion ('phonographic imperfections') and performance imperfections, in several decades of newspapers, magazines and websites covering popular music in the English-speaking world. I argue that lo-fi aesthetics is not merely the unmediated, realist authenticity that it is often claimed to be, but one that is also fascinated with the distance from perceived commercial norms of technique and technology (or 'technocracy') that lo-fi effects signify. Lo-fi aesthetics derives from aesthetics of primitivism and realism that extend back long before phonographic imperfections were positively received. I also differentiate between lo-fi aesthetics and aesthetics of noise music, distortion in rock, glitch, punk and cassette culture. An appreciation for recording imperfections and the development of 'lo-fi' as a construction and a category is charted since the 1950s and particularly in the 1980s, 1990s and in the twenty-first century, taking in the reception of artists such as the Velvet Underground, Bob Dylan, Hasil Adkins, the Shaggs, Jandek, Daniel Johnston, Beat Happening, Pavement, Sebadoh, Guided By Voices, Beck, Will Oldham, Ariel Pink and Willis Earl Beal.
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Funk, James Anthony (Tony). "Discipling believers to accept and embrace diversity in worship a study of the congregational singing of the British Columbia Mennonite Brethren Conference, 1990 /." Theological Research Exchange Network (TREN), 1993. http://www.tren.com.
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Lancia, Julio Cesar [UNESP]. "Discussões sobre o minimalismo musical norte-americano: processos, repetição e tecnologia." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/95101.
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Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0
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lancia_jc_me_ia.pdf: 1949570 bytes, checksum: de65c06be1d96f797a0b1521e72e719c (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>O minimalismo musical de La Monte Young, Terry, Riley, Steve Reich e Philip Glass foi chamado, entre outros rótulos, de música repetitiva, modular, de pulsação, de processos e estática – e, portanto, não-teleológica – antes que o termo minimalismo prevalecesse. Uma vez que tais termos não são infundados e refletem características percebidas no minimalismo, este trabalho tenta definir as idéias por trás desses rótulos. O trabalho também discute os procedimentos mais típicos adotados por cada um dos quatro compositores mencionados, apontando as mudanças de feições na produção desses compositores entre as décadas de 1960 e 70, período normalmente utilizado como referência para estudos.<br>The musical minimalism of La Monte Young, Terry, Riley, Steve Reich and Philip Glass had been called, among other labels, repetitive, modular, pulse, process, and static – and as a result, a-teleological – music before the name minimalism finally caught on. Since those labels reflect, at least in part, some of the features commonly found in the style, this study attempts to define the concepts behind such labels. This work also discusses some of the most typical procedures adopted by the four composers aforementioned, pointing their changing style during the 1960s and 70s, period often used as a reference for studies.
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Goad, John C. "Tracing Appalachian Musical History through Fiction: Representations of Appalachian Music in Selected Works by Mildred Haun and Lee Smith." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2536.
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This research seeks to compare and contrast fictional Appalachian writings by Lee Smith and Mildred Haun to contemporary historical sources in an attempt to trace the development of Appalachian music between the mid-nineteenth century and the late twentieth century. The thesis examines two novels by Lee Smith (The Devil’s Dream and Oral History) and the collection The Hawk’s Done Gone by Mildred Haun, which includes a short novel and several short stories. Contemporary primary sources and scholarly secondary sources were used to compare the fictional works’ depictions of Appalachian music to their historical counterparts. Also included within the thesis is a discussion of Smith and Haun’s personal and research backgrounds and their connections to Appalachian music. Overall, the study found Smith and Haun’s works accurate and based in historical fact, in part due to both writers’ use of historical research and interviews to inform their fiction.
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Panzeca, Andrea. "You Don't Have to Be Good." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1979.
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You Don't Have to be Good, is a nonfiction collection of prose, poetry and graphic memoir set in New Orleans, central Florida, and points in between. In this coming-of-age memoir, I recall the abrupt end of my dad's life, the 24 years of my life in which he was alive, and the years after his death—remembering him while living without him in his hometown of New Orleans. Along the way there are meditations on language, race, gender, dreams, addiction, and ecology. My family and I encounter Hurricane Katrina and Mardi Gras, and at least one shuttle launch. These are the stories I find myself telling at parties, and also those I've never voiced until now.
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Oliveira, Juliano de. "O desenvolvimento da poética eletroacústica na trilha sonora de filmes de ficção científica norte-americanos." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-16052013-160340/.
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Nesta dissertação, buscou-se realizar um estudo histórico e analítico acerca do desenvolvimento da poética e dos processos da música eletroacústica na trilha sonora - principalmente na trilha musical - do cinema de ficção científica norte-americano. A música eletroacústica, a começar por suas primeiras manifestações através dos instrumentos eletrônicos e de técnicas de manipulação de tape magnético, esteve associada, desde o início do cinema sonoro, à ficção científica e ao terror. Na década de 1950, com o início da era de exploração espacial no cinema norte-americano, os sons eletrônicos se associaram ao universo alienígena e às narrativas de futuro. Nos anos seguintes, os gestos e funções indiciais desses primeiros instrumentos foram adaptados aos sintetizadores e às novas gerações de dispositivos eletrônicos. Assim, lentamente se consolidou uma tradição que relacionaria, durante os anos subsequentes, a música eletroacústica às narrativas de suspense, terror e ficção científica. Para entender como se deu a utilização de sons eletrônicos no cinema de ficção científica ao longo do século XX, partimos da exposição de alguns pressupostos metodológicos de análise audiovisual e de música eletroacústica. Estes, por sua vez, serviram como norteadores para as análises realizadas no final da dissertação. Posteriormente, seguimos por dois caminhos: um, cujo objetivo é descrever o desenvolvimento dos processos formadores da poética da música eletroacústica e seu uso no cinema; e outro, onde tentamos delinear o desenvolvimento da trilha sonora de filmes de ficção científica que se apropriaram de elementos advindos da música eletroacústica. No último capítulo, realizamos a análise de quatro filmes de diferentes períodos. Cada filme selecionado pode ser considerado representativo no uso de processos e técnicas da música eletroacústica de sua época; são eles: O planeta proibido (1956), THX 1138 (1971), Tron: uma odisseia eletrônica (1982) e A última profecia (2002).<br>The electroacoustic music, starting with its first manifestations such as electronic instruments and magnetic tape manipulation techniques, have been associated, since the beginning of movies with sound, to science fiction and horror. In the 50\'s, with the beginning of an era of space exploration in north-american motion pictures, the electroacoustic sounds were definitely associated with the alien\'s universe and futuristic narratives. In the following years, the gestures and functions of those first instruments were adapted to the synthesizers and to the new electronic device generation. Thus, it slowly consolidated a tradition that would relate the electroacoustic music to suspense, horror and science fiction narratives for the subsequent years. In order to understand how the use of electronic sounds in science fiction movie pictures happened during the twentieth century, we will start with the exposure of some methodological assumptions of audio-visual and electroacoustic music analysis. These will, on the other hand, work as guides for the final analysis in the end of this dissertation. Afterwords, we followed through two paths: one of them aimed to describe the developmental processes of electroacoustic music\'s poetic since its origin and its use in the cinema; and for the other path we tried to outline the soundtrack\'s development of science fiction motion pictures that made use of elements coming from electroacoustic music. Each selected movie may be considered representative of its own time in this use of electroacoustic music\'s processes; which are: Forbidden Planet (1956), THX 1138 (1971), Tron (1982) and The Mothman Prophecies (2002).
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Tramontina, Leonardo Salomon Soares. "A apropriação dos discursos da New Musicology por três didáticas norte-americanas de ensino de história da música." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-14032013-104135/.
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O recrudescimento das críticas aos paradigmas teórico-conceituais e ao próprio modus operandi da musicologia histórica, a partir da década de 1980, fomentou seu reposicionamento em direção a processos, temas e métodos característicos das disciplinas não musicais, tais como a antropologia, linguística, etnomusicologia, crítica literária e a teoria cultural, dente outras. Como a Historiografia da segunda metade do século XX, tenta desenvolver uma crítica aos seus enunciados e práticas baseada na consciência de suas formas de construção e significação e da historicidade de seus postulados. Tal fenômeno de inquirição ontológica deu-se, majoritariamente, nos países de língua inglesa, onde recebeu o nome de New Musicology. Sob este contexto, portanto, será analisado como três didáticas de ensino de História da Música, amplamente utilizadas nos cursos de graduação em música dos Estados Unidos, têm se apropriado destes discursos críticos. Tratar-se-á, pois, de desvelar como um material comumente caracterizado por uma postura historiográfica mais tradicionalista, cuja tendência é apresentar uma História da Música que coaduna contextualização geopolítica, \"evolução\" dos estilos, gêneros e formas musicais a aspectos biográficos das \"grandes personalidades\", tem inserido e articulado em suas narrativas e estratégias pedagógicas as propostas da New Musicology.<br>The upsurge of the critics on historical musicology as a discipline, since the 1980s, fostered its repositioning towards processes, themes and methods belonging to non-musical disciplines such as anthropology, linguistics, ethnomusicology, literary criticism and cultural theory, among others. In the same way as historiography did from the second half of twentieth-century, it criticizes its own practices and ideas based on awareness of its construction and meaning models, as well as of the historicity of its postulates. This ontological inquiry took place, mainly, in Englishspeaking countries, where it was called New Musicology. Under this context, therefore, the intent of this text is to analyze how three widely used Music History textbooks had adopted this critical discourses into their texts. In other words, this dissertation intend to reveal how books who, normally, has a traditional and noncritical approach regarding music history, insert in their textual narratives and pedagogical strategies the ideas of New Musicology.
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Rodrigues, Vanúzia Almeida. "Música popular e dança de salão: o maxixe nos jornais norte-americanos do início do século XX." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-27032018-171249/.
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Este trabalho trata da circulação de notícias do maxixe brasileiro nos jornais estadunidenses no começo do século XX. Os periódicos colhidos no repositório Newspaperarchive foram sistematizados nos moldes de um corpus documental. Este foi o principal objetivo do trabalho ora apresentado: produzir um instrumento de pesquisa através da construção de uma coletânea com todas as matérias a respeito do maxixe brasileiro, publicadas nos jornais dos Estados Unidos, na forma de anúncios, artigos, contos, notas, notícias e poemas, entre 1906 momento em que encontramos a primeira notícia focalizando o tema , e o final dos anos 1930, quando já vinha se desenvolvendo no Brasil uma música tipicamente nacional e os produtos da cultura brasileira já tinham circulado pelo mundo, especialmente Europa e Estados Unidos. No período estudado, música popular é música de divertimento, feita para dançar. Dançar nos salões do Brasil, nos dancings de Paris, nos ballrooms americanos, mais do que moda, era uma forma de participar da sociedade, de se inteirar das novidades, dos passos mais conhecidos, afinal a música popular e a dança coreográfica são expressões artísticas que transitam entre as diferentes classes sociais. O maxixe nasceu miscigenado, reflete a misturada de ritmos e gêneros, presentes no Brasil desde o século XVIII, como o batuque, o lundu (ambos de matriz africana). Mas, recebeu também forte influência de gêneros europeus como a modinha, e mais tarde da polca (século XIX) e do choro uma invenção brasileira. Como toda dança, causou escândalo quando surgiu, em virtude dos movimentos considerados ousados, extravagantes e lascivos. Pouco a pouco, os passos exibidos nos cabarés do Rio de Janeiro transformaram-se, adequando-se aos ambientes dignos da sociedade brasileira, e é assim que passam a ocupar os salões frequentados pelas classes mais abastadas. No eixo internacional, Paris foi a bússola que orientou e pautou os códigos de comportamento no mundo inteiro, principalmente durante a Belle Époque. As viagens de músicos, agentes, mecenas etc. e de objetos sonoros através do Atlântico são vistas pela perspectiva da transculturação. O contato entre grupos de culturas diferentes contribui para que os artistas e sua arte se transformem e isso ocorre independente do processo de dominação econômica, uma vez que todos passam por mudanças (dominados e dominantes). Por outro lado, o conceito de triangulação é apropriado para compreender o modo como circulam os objetos sonoros e dançantes, e proporciona o mapeamento dos lugares por onde transitaram tais objetos, colaborando para a percepção dos aspectos que estão em jogo na circulação deles. Nos Estados Unidos, as escolas, as universidades e a técnica, de um lado; e a família e os professores de dança, de outro, foram centrais ao processo de branqueamento que permitiu a aceitação do maxixe. Por outro lado, o teatro de caráter trovadoresco - onde se inclui o vaudeville e, mais tarde, os musicais no teatro e no cinema, colaboraram para que a música e a dança maxixe continuassem presentes naquele país, avançando além dos anos 1930. A difusão do maxixe obedeceu à lógica da indústria cultural, articulando-se aos mecanismos de reprodutibilidade próprios do mercado.<br>This paper explores the circulation of Brazilian maxixe news in American newspapers at the beginning of the 20th century. The journals collected in the Newspaperarchive repository were systematized in the form of a documentary corpus. This was the main objective of the work presented here: to produce a research instrument through the construction of a collection of all the Brazilian maxixe materials, published in the United States newspapers, in the form of advertisements, articles, short stories, notes, news and poems, between 1906 - when we found the first news focusing on the theme - and the late 1930s, when Brazilian music was already developing in Brazil, and the products of Brazilian culture had already circulated throughout the world, especially in Europe and the United States. In the period studied, popular music is fun music, made for dancing. Dancing in the halls of Brazil, in the dancings of Paris, in the American ballrooms, more than fashion, was a way to participate in society, to find out about the news, the best known steps, after all, popular music and choreographic dance are artistic expressions which pass through the different social classes. Maxixe was born miscegenated, reflects the \"mixed\" rhythms and genres, present in Brazil since before the 18th century, such as the batuque, the lundu (both African matrix). But it was also strongly influenced by European genres such as modinha, and later by the polka (19th century) and choro - a Brazilian invention. Like all dance, it caused scandal when it arose, by virtue of the movements considered daring, extravagant and lascivious. Little by little, the steps displayed in the cabarets of Rio de Janeiro were transformed, adapting themselves to the \"dignified\" places of Brazilian society, and that is how they began to occupy the ballrooms frequented by the wealthiest classes. On the international axis, Paris was the compass that guided and led the codes of behavior throughout the world, especially during the Belle Époque. The trips of musicians, agents, patrons, etc. and sound objects across the Atlantic are seen from the perspective of transculturation. The contact between groups of different cultures contributes to the transformation of artists and their art, and this occurs independently of the process of economic domination, since all undergo changes (dominated and dominant). On the other hand, the concept of triangulation is appropriate to understand the way the sound and dance objects circulate, and it provides a mapping of the places through which these objects transited, collaborating to the perception of the aspects that are at play in their circulation. In the United States, schools, universities and technique, on the one hand; And family and dance teachers on the other, were central to the bleaching process that allowed the acceptance of the maxixe. On the other hand, theater like a vaudeville and, later, musicals in the theater and in the cinema, collaborated so that the music and the maxixe dance continued present in that country, advancing beyond the 1930s. Diffusion of the maxixe obeyed the logic of the cultural industry, articulating itself to the mechanisms of reproducibility proper to the market.
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Buehner, Katie R. "Accessibility and authenticity in Julia Smith's Cynthia Parker." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-5197.
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Burgess, Stephanie J. "Finding the "Indian" in Amy Beach's Theme and Variations for Flute and String Quartet, op. 80." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-5196.
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Troutman, John William Foley Neil. "'Indian blues' American Indians and the politics of music, 1890-1935 /." 2004. http://repositories.lib.utexas.edu/bitstream/handle/2152/1446/troutmanj89454.pdf.
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Troutman, John William. "'Indian blues': American Indians and the politics of music, 1890-1935." Thesis, 2004. http://hdl.handle.net/2152/1446.
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Scully, Michael F. "American folk music revivalism, 1965-2005." Thesis, 2005. http://hdl.handle.net/2152/3522.
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Zuraw, Michael. "From ideology into sound: Frederic Rzewski's "North American Ballads" and other piano music from the 1970s." Thesis, 2003. http://hdl.handle.net/1911/18587.
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Frederic Rzewski's contribution to twentieth century piano literature is deep and varied. Works such as the North American Ballads and the Variations on The People United Will Never Be Defeated represent some of the greatest technical accomplishments in all of piano literature. The composer borrows from the music of different nations and, through a pastiche of styles, tries to communicate many personal ideological beliefs. This document sets these cultural references and ideological values into context, primarily focusing on the North American Ballads of 1979. Other important works, such as the Variations on No Place to Go But Around, Les Moutons de Panurge, Coming Together, and Attica will also be discussed as predecessors to the composer's mature style that developed in the 1970s. Thorough discussion of Rzewski's source materials is featured, as well as a complete motivic analysis of the Ballads . The author has also included a list of the composer's solo piano music and a discography of the piano works discussed in the body of the paper.
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Cain, Mary Celia. "Songbirds : representation, meaning, and indigenous public culture in Native American women's popular musics /." 2003. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3108065.
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(6634379), Jeffrey A. Wimble. "SURVIVAL TECHNOLOGIES: AFRICAN-AMERICAN MUSICAL MODERNISMS." Thesis, 2020.
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<p>This dissertation focuses on a variety of African-American musical expressions of the later twentieth century, situating them along a continuum of musical modernism that constitute various modes of survival technology, inextricably connected to the cultures from which they arise. My application of the term <i>survival</i><i>technologies </i>denotes two primary aspects: musical “technologies” in the sense that the term is commonly understood to refer to the construction of musical instruments and recording instruments both old and new, but also “technologies” in the sense of the term employed by Murray and Dinerstein: as modes of knowledge and strategies of resistance. My use of <i>survival technologies</i>as the conceptual underpinning that unifies my research entails bringing these two aspects together, and the two senses of the term converge especially when African-American musicians use musical instruments and tools in new, unexpected ways, as frequently happens throughout the history of African-American music in the twentieth century. I analyze how African-American musicians’ use of electric guitars, amplification, synthesizers, analog sequencers, studio effects, turntables, samplers, drum machines, and digital audio workstations constitute a uniquely African-American mode of musical knowledge and practice that is improvisational, heuristic, non-linear, and constantly aware of the past while simultaneously re-imagining the future. I link this analysis to works by twentieth-century literary authors and theorists in order to examine how African-American musicians’ <i>modus operandi</i>, varied and distinct as they are, are nonetheless consistent not only across divergent musical styles and eras, but also function inseparably from other arts and broader cultural contexts.</p><p>Throughout this project, written words interact with musical recordings. I strive to “hear” written texts (literature and literary criticism) and to “read” sound texts (recordings), highlighting the resonances between “literary texts” and “sound texts.” The Chicago blues style of Muddy Waters interacts with Richard Wright’s literary documentary of life on Chicago’s South Side, <i>12 Million Black Voices,</i>to highlight how old rural black vernacular “folk” expressions could serve as the basis of a new urban African-American modernism. Likewise, the electronic experiments of Herbie Hancock, which innovatively combined European modes of music creation and African diasporic musical concepts, interacts with Henry Louis Gates Jr.’s <i>The Signifying Monkey </i>to highlight how African-American modernism entails Signifyin(g) on European precedents as well as precedents in African-American art. Additionally, the historically informed jazz of Wynton Marsalis interacts with T. S. Eliot’s ideas of tradition in order to highlight how artistic conceptions of the past inform African-American modernist expressions today, such as jazz and sampled electronic music. Finally, Detroit techno music interacts with the musical and cultural criticism of Theodor Adorno to highlight how African-American modernism uses survival technologies to construct visions of the future that resist what Adorno called the “culture industry.”</p>
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Hartana, Sutrisno Setya. "Origins, journeys, encounters: a cultural analysis of wayang performances in North America." Thesis, 2017. http://hdl.handle.net/1828/8047.
Full textAbstract:
This dissertation examines an Indonesian-North American version of an evolving, transnational and hybrid multimedia art form which has come about through forty years of adaptations made by cross-culturally located artists in creative conversation with Indonesian performers involved in the Javanese and Balinese forms of musical theatre known as wayang.
Wayang theatre employs puppets and other components including gamelan music (Indonesian percussion instruments, drums, flutes, strings and vocals). Given this complexity, there are many possibilities for variations, changes, and hybridization. In this research project, I analyze aspects of this hybrid performance by analyzing select Indonesian-North American wayang performances, as case studies.
In order to isolate complex changes and various adaptations of wayang performances in the North American setting, I also analyze and contextualize a hybridization of Javanese and Balinese wayang performances. As a performance art form, wayang has always been changing historically—at some points more quickly and dramatically than at other periods of time, thus resisting firm categorization that would provide a baseline for comparison. I have developed the wahiyang theoretical framework as an analytical tool to identify the influence of North American culture on the wayang performances in my case studies.
I argue that new genre of wayang is emerging, creating a hybridized form that I call wahiyang gaya NA. This process has progressed to the point that wahiyang gaya NA can be said to represent a new genre of multimedia world art, which combines elements of local and global artistic practises, making the form even more flexible and adaptable than its original forms in Indonesia.
The gradual spread and popularization of wayang in North America has definite historical contexts, namely the early 19th-to-mid 20th century conjunction of decolonization and Third World nationalism, with the more recent decades’ layering of multiculturalism and push towards conscious cultural responses to economic globalization. This developing continuum of new hybrid forms spans a spectrum of cultural inclusion and expansion of wayang and new components. At times these may be seen as wayang influence upon Western performance practice; at other times an entire Indonesian wayang production with additional elements added from Western music, theater, and other disciplines may be presented. These developments signify an enhanced and expanded exchange of cultural products between the nations of the world, taking place in an expanded space for dialogue between the artists of the developed and developing countries.
I will show, using case studies, how this process has produced and is producing a new branch of wayang as part of a continuum of hybridized wayang forms. By examining selected performance collaborations that have taken place over the last 40 years, I will provide a detailed analysis, which for the first time, lays out the components that constitute the variation of wayang art performance that has developed in response to geographical and cultural contexts of the Pacific Northwest of USA and Westcoast Canada.<br>Graduate<br>2018-04-12<br>0377, 0357, 0465<br>sutrisno@uvic.ca
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Jacobsen, Kristina Michelle. "Navajo Voices: Country Music and the Politics of Language and Belonging." Diss., 2012. http://hdl.handle.net/10161/5402.
Full textAbstract:
<p>This dissertation investigates identity, citizenship, and belonging on the Navajo (Diné) Nation in Arizona and New Mexico through an ethnographic study of Navajo country western bands and the politics of Navajo language use. As the second largest tribe in the United States, the Navajo have often been portrayed by scholars as a singular and somewhat monolithic entity. But my dissertation tracks the ways that Navajos distinguish themselves from one another by dint of geographic location, physical appearance, linguistic abilities, degree of Navajo or Indian blood, class affiliations and musical taste. These distinctions are made over and above citizenship requirements for enrollment in the Navajo Nation. Thus, I focus on how a Navajo politics of sameness and difference indexes larger ideas and perceptions of "social authenticity" linked to the ability to speak, look and act "Navajo." Based on 28 months of fieldwork, the dissertations draws on three types of qualitative data: 1) interviews with Navajo country music performers and Navajo language activists 2) participant observation that included playing with three Navajo country bands and living on the reservation 3) discourse analysis of musical performances, band rehearsals, Navajo newspaper articles and other media The resulting study joins linguistic anthropology, the anthropology of music (ethnomusicology) and American Indian Studies to show how "being Navajo" is contested and debated, and, more broadly, to interrogate the complex ways that indigenous identities are negotiated across multiple, often-contradictory and crisscrossing axes.</p><br>Dissertation