Journal articles: '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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Seybert, John M. "A History of the North American Band Directors’ Coordinating Committee, 1960–1970." Journal of Research in Music Education 60, no. 4 (2012): 430–51. http://dx.doi.org/10.1177/0022429412463580.

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The purpose of this study was to investigate the institutional history and documentary evidence of the North American Band Directors’ Coordinating Committee (NABDCC) during the first decade of its existence, from 1960 through 1970. The NABDCC constituted a forum of national band, music industry, and related associations, including the American Bandmasters Association, College Band Directors National Association, and the National Association of Music Merchants, for examining mutual concerns critically and for fostering discussion with experts outside of the wind profession. The research questions addressed the development of the NABDCC, important events in its history, and the specific issues in music education examined by the committee. Important issues in instrumental music that were discussed by the NABDCC included the role of the band in the school curriculum, music advocacy, federal and state legislation, standards-based education, and the inclusion of new musical styles and ensembles. Various themes across these issues emerged from the study, including the difficulties of collaboration within a multifaceted representation of specific interests and the oscillating relationship between music educators and the music industry. The results of this study contribute to enhanced understanding of 1960s instrumental music education, with implications for the present.

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Gramit, David. "The Roaring Lion: Critical Musicology, the Aesthetic Experience, and the Music Department." Canadian University Music Review 19, no. 1 (2013): 19–33. http://dx.doi.org/10.7202/1014603ar.

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This paper argues that a number of recent responses within North American musicology to critical scholarship that has challenged disciplinary conventions have in common a deep loyalty to the aesthetic experience of music as a supreme value. The vigour with which this value is defended has close parallels in religion, and such defences have indeed sometimes resorted to explicitly religious terminology. The institutional situation of North American musicology in university music departments dominated by Western classical music instruction strengthens this ideology, which continues to resist socially oriented study of music.

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Kuss, Malena, and Peter Manuel. "Essays on Cuban Music: North American and Cuban Perspectives." Notes 50, no. 3 (1994): 934. http://dx.doi.org/10.2307/898544.

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Borel, Francois, and Peter Manuel. "Essays on Cuban Music, North American and Cuban Perspectives." Yearbook for Traditional Music 25 (1993): 152. http://dx.doi.org/10.2307/768693.

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Duran, Lucy, and Peter Manuel. "Essays on Cuban Music: North American and Cuban Perspectives." Latin American Music Review / Revista de Música Latinoamericana 14, no. 2 (1993): 281. http://dx.doi.org/10.2307/780178.

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MITCHELL, GILLIAN A. M. "Visions of Diversity: Cultural Pluralism and the Nation in the Folk Music Revival Movement of the United States and Canada, 1958–65." Journal of American Studies 40, no. 3 (2006): 593–614. http://dx.doi.org/10.1017/s0021875806002143.

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This article focusses on the concept of cultural pluralism in the North American folk music revival of the 1960s. Building on the excellent work of earlier folk revival scholars, the article looks in greater depth at the “vision of diversity” promoted by the folk revival in North America – at the ways in which this vision was constructed, at the reasons for its maintenance and at its ultimate decline and on the consequences of this for anglophone Canadian and American musicians and enthusiasts alike.

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McCallum, Peter, William Kinderman, and William Drabkin. "Beethoven's Compositional Process, North American Beethoven Studies: Vol. 1." Music Analysis 13, no. 1 (1994): 116. http://dx.doi.org/10.2307/854283.

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Romero, Sergio Ospina. "Ghosts in the Machine and Other Tales around a “Marvelous Invention”: Player Pianos in Latin America in the Early Twentieth Century." Journal of the American Musicological Society 72, no. 1 (2019): 1–42. http://dx.doi.org/10.1525/jams.2019.72.1.1.

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Gabriel García Márquez's literary portrait of the arrival of the pianola in Macondo in One Hundred Years of Solitude functions as a metaphor for the reception and cultural legitimization of player pianos in Latin America during their heyday in the 1910s and 1920s. As a technological intruder, the player piano inhabited a liminal space between the manual and the mechanical as well as between unmediated musical experiences and the mechanically mediated consumption of sounds. It thus constitutes a paradigmatic case by which to examine the contingent construction of ideas about tradition and modernity. The international trade in player pianos between the United States and Latin America during the first decades of the twentieth century was developed in tandem with the commercial expansion and political interventionism of the United States throughout the Americas during the same period. The efforts of North American businessmen to capture the Latin American market and the establishment of marketing networks between US companies and Latin American dealers reveal a complex interplay of mutual stereotyping, First World War commercial geopolitics, capitalization on European cultural/musical referents, and multiple strategies of appropriation and reconfiguration in relation to the player piano's technological and aesthetic potential. The reception of player pianos in Latin America was characterized by anxieties very similar to those of US consumers, particularly with regard to the acousmatic nature of their sounds and their perceived uncanniness. The cultural legitimization of the instrument in the region depended, however, on its adaptation to local discourses, cultural practices, soundscapes, expectations, language, gender constructions, and especially repertoires.

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Dueck, Byron. "North American Indigenous song, the sacred and the senses." Body and Religion 2, no. 2 (2018): 206–23. http://dx.doi.org/10.1558/bar.36490.

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How does music shape the experience of the sacred? This chapter looks at two genres of North American Indigenous singing – drum song performed at powwows and gospel singing associated with funerary wakes – and it explores music’s capacity for mediating sacred presences and processes.

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Tagg, Philip. "Open letter." Popular Music 8, no. 3 (1989): 285–98. http://dx.doi.org/10.1017/s0261143000003573.

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I have recently found myself reacting with some irritation on meeting such terms as ‘black music’, ‘white music’, ‘Afro-American music’ and ‘European music’. The aim of this letter, written mainly with white European or North American students, friends and colleagues in mind, is to question the validity of these terms, to bring some issues lurking behind their general usage out into the scribal daylight and, hopefully, to provide some ideas for a constructive debate on music, race and ideology.

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Kidula, Jean Ngoya. "A Slice of Home: African Music in North American Churches." Liturgy 33, no. 3 (2018): 46–53. http://dx.doi.org/10.1080/0458063x.2018.1449520.

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Powers, Marla N. ": Women in North American Indian Music: Six Essays . Richard Keeling." American Anthropologist 93, no. 2 (1991): 456–57. http://dx.doi.org/10.1525/aa.1991.93.2.02a00160.

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Scott-Moncrieff, Suzannah, Bolette Daniels Beck, and Erin Montgomery. "North-American Conference Highlights the Treatment of Trauma Utilizing Guided Imagery and Music." Music and Medicine 7, no. 4 (2015): 72. http://dx.doi.org/10.47513/mmd.v7i4.436.

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Shears, Barry. "Patriarchs, Pipers and Presidents: Gaelic Immigrant Funerary Customs and Music in North America." Genealogy 4, no. 2 (2020): 63. http://dx.doi.org/10.3390/genealogy4020063.

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One of the most moving tributes to the dead is the playing of the Highland bagpipes during funeral services, whether in the church or at the graveside. This custom has a long history both in Scotland and in areas of North America settled by Scottish immigrants over the past 300 years, and for lovers of bagpipe music it is an essential part of the funeral ritual. Throughout its history the piper’s lament has transcended social class structure and has been performed for paupers and presidents alike. Despite being deeply rooted in tradition, the music and function of this musical practice have changed over time. Drawing from printed texts of the 19th and 20th centuries, recent scholarship and local folklore surrounding funeral customs and music, this paper examines the origins of the funeral piping tradition in Gaelic Scotland and its evolution in North American society.

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Bond, Vanessa L. "Sounds to Share." Journal of Research in Music Education 62, no. 4 (2014): 462–84. http://dx.doi.org/10.1177/0022429414555017.

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Renowned around the world, schools within the municipality of Reggio Emilia, Italy, have inspired North American early childhood educators for over 25 years. Despite the popularity and usage of the Reggio Emilia approach in the United States, music educators may find it unfamiliar. There is a lack of research that has discussed the use of music or application of music education in Reggio-inspired schools. The purpose of this multiple case study was to examine the state of music education in three North American preschools inspired by the Reggio Emilia approach to early childhood education. The research was guided by three questions: (1) How is music socially constructed and integrated into a Reggio Emilia–inspired preschool classroom’s daily life curriculum? (2) How does music education in Reggio-inspired classrooms compare to the national preK music standards? and (3) What aspects of Reggio Emilia–inspired preschools may be transferable to early childhood music classroom contexts? The researcher asserted that music was prevalent in these schools and that several models of the music teacher role existed; however, more work needs to be done to realize the full potential of this organic, synergistic relationship.

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Neubarth, Kerstin, and Darrell Conklin. "Identification and Description of Outliers in the Densmore Collection of Native American Music." Applied Sciences 9, no. 3 (2019): 552. http://dx.doi.org/10.3390/app9030552.

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This paper presents a method for outlier detection in structured music corpora. Given a music collection organised into groups of songs, the method discovers contrast patterns which are significantly infrequent in a group. Discovered patterns identify and describe outlier songs exhibiting unusual properties in the context of their group. Applied to the collection of Native American music collated by Frances Densmore (1867–1957) during fieldwork among several North American tribes, and employing Densmore’s music content descriptors, the proposed method successfully discovers a concise set of patterns and outliers, many of which correspond closely to observations about tribal repertoires and songs presented by Densmore.

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Rahn, Jay. ""Chinese Harmony" and Contemporary Non-Tonal Music Theory." Canadian University Music Review 19, no. 2 (2013): 115–24. http://dx.doi.org/10.7202/1014452ar.

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Twentieth-century Chinese theorists and composers have developed a distinctively indigenous approach to harmony, based in part on earlier pentatonic traditions. Mixed as it is with conventions of diatonic and chromatic harmony imported from Europe and North America, the resulting "Chinese harmony" poses music-theoretical problems of coordinating diatonic and pentatonic scales, and tertial and quartal chords. A survey of Chinese harmony as expounded by Kang Ou shows these difficulties to be theoretically intractable within solely Chinese or Euro-American frameworks, but soluble through recent formulations in atonal—or more appropriately, non-tonal-theory, as advanced by such writers as John Clough.

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Hess, Carol A. "Copland in Argentina." Journal of the American Musicological Society 66, no. 1 (2013): 191–250. http://dx.doi.org/10.1525/jams.2013.66.1.191.

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Abstract Perhaps more than any other US composer, Aaron Copland is associated with Pan Americanism, a contradictory and often unbalanced set of practices promoting North-South economic and affective ties since the nineteenth century. Copland visited Latin America on behalf of the US government four times over the course of his career. He also befriended and taught Latin American composers, wrote about Latin American music, and composed several Latin-American—themed works, including the well-known El salón México. Focusing on one such encounter—Copland's three visits to Argentina (1941, 1947, 1963)—this article examines in detail Latin American opinion on Copland's cultural diplomacy, thus challenging the prevalent one-sided and largely US perspective. My analysis of these Spanish-language sources yields new biographical data on Copland while questioning recent assessments of his Latin American experience. I also illuminate the composer's conflicted approach to modernism, intimately connected to his desire to communicate with a broad public and to assert national identity. The crisis of modernism not only played itself out in some surprising ways in Argentina but also informed Copland's profoundly antimodernist vision of Latin American music, one rooted in essentialism and folkloric nationalism and which ultimately prevailed in the United States throughout the late twentieth century.

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Matsunobu, Koji. "The role of spirituality in learning music: A case of North American adult students of Japanese music." British Journal of Music Education 29, no. 2 (2012): 181–92. http://dx.doi.org/10.1017/s0265051712000095.

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In this paper the role of spirituality in learning music for North American adult students is explored by examining the case of shakuhachi music. One distinctive character of engaging in music through the shakuhachi is that it facilitates the attainment of an ‘optimal relationship’ between the practitioners’ musical pursuit and self-cultivation through a ‘simple’ media, such as a single tone. The findings indicate that spirituality could be experienced regardless of one's musical skills or the level of outward expression. A second characteristic is that both experienced players and beginners could experience what the spirituality of music means through certain forms of music practice, including the shakuhachi practice, which followed the principle of ‘less is more’.

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Hulsether, Mark D. "Jesus and Madonna: North American Liberation Theologies and Secular Popular Music." Black Sacred Music 8, no. 1 (1994): 239–53. http://dx.doi.org/10.1215/10439455-8.1.239.

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HUMPHREYS, PAUL W. "Women in North American Indian Music: Six Essays . RICHARD KEELING, ed." American Ethnologist 18, no. 3 (1991): 633–34. http://dx.doi.org/10.1525/ae.1991.18.3.02a00410.

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Harley, Maria Anna. "Birds in concert: North American birdsong in Bartók's Piano Concerto No. 3." Tempo, no. 189 (June 1994): 8–16. http://dx.doi.org/10.1017/s0040298200003430.

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On 22 April 1944 Béla Bartók wrote to his son, Peter:Spring has now indisputably arrived. A kind of ‘kutyafa’ (dogwood) is in bloom, like acacias flowering at home. The birds have become completely drunk with the spring and are putting on concerts the like of which I've never heard. They start with puty-puty-puty ./../../. and end up with various new bird sounds (clearly from later arrivals). The keeps on creating more and more variants.

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Aplenc, Veronica E. "The Architecture of Vernacular Subjectivities: North American and Slovenian Perspectives." Journal of Folklore Research: An International Journal of Folklore and Ethnomusicology 42, no. 1 (2005): 1–31. http://dx.doi.org/10.2979/jfr.2005.42.1.1.

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Romero, Brenda M., and Richard Keeling. "North American Indian Music: A Guide to Published Sources and Selected Recordings." Notes 55, no. 1 (1998): 94. http://dx.doi.org/10.2307/900357.

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Ruchala, James. "North American Fiddle Music: A Research and Information Guide (review)." Notes 68, no. 4 (2012): 778–80. http://dx.doi.org/10.1353/not.2012.0058.

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Collins, John. "The early history of West African highlife music." Popular Music 8, no. 3 (1989): 221–30. http://dx.doi.org/10.1017/s0261143000003524.

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Highlife is one of the myriad varieties of acculturated popular dance-music styles that have been emerging from Africa this century and which fuse African with Western (i.e. European and American) and islamic influences. Besides highlife, other examples include kwela, township jive and mbaqanga from South Africa, chimurenga from Zimbabwe, the benga beat from Kenya, taraab music from the East African coast, Congo jazz (soukous) from Central Africa, rai music from North Africa, juju and apala music from western Nigeria, makossa from the Cameroons and mbalax from Senegal.

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Chybowski, Julia J. "Becoming the “Black Swan” in Mid-Nineteenth-Century America:." Journal of the American Musicological Society 67, no. 1 (2014): 125–65. http://dx.doi.org/10.1525/jams.2014.67.1.125.

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Elizabeth Taylor Greenfield was first in a lineage of African American women vocalists to earn national and international acclaim. Born into slavery in Mississippi, she grew up in Philadelphia and launched her first North American concert tour from upstate New York in 1851. Hailed as the “Black Swan” by newspapermen involved in her debut, the soubriquet prefigured a complicated reception of her musical performances. As an African American musician with slavery in her past, she sang what many Americans understood to be “white” music (opera arias, sentimental parlor song, ballads of British Isles, and hymns) from the stages graced by touring European prima donnas on other nights, with ability to sing in a low vocal range that some heard as more typical of men than women. As reviewers and audiences combined fragments of her biography with first-hand experiences of her concerts, they struggled to make the “Black Swan” sobriquet meaningful and the transgressions she represented understandable. Greenfield's musical performances, along with audience expectations and the processes of patronage, management, and newspaper discourse complicated perceived cultural boundaries of race, gender, and class. The implications of E. T. Greenfield's story for antebellum cultural politics and for later generations of singers are profound.

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Duinker, Ben. "Song Form and the Mainstreaming of Hip-Hop Music." Current Musicology 107 (January 27, 2021): 93–135. http://dx.doi.org/10.52214/cm.v107i.7177.

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Song form in North American hip-hop music has evolved along the genre’s journey from its origins as a live musical practice, through its commercial ascent in the 1980s and 1990s, to its dominance of mainstream popular music in the 21st century. This paper explores the nature and evolution of song form in hip-hop music and uses them as a musical lens to view the gradual and ongoing mainstreaming of this genre. With the help of a corpus of 160 hip-hop songs released since 1979, I describe and unpack section types common to hip-hop music—verses, hooks, and instrumentals—illustrating how these sections combine in different formal paradigms, such as strophic and verse-hook. I evaluate the extent to which formal structures in hip-hop music can be understood as products of the genre’s live performance culture; one with roots in African American oral vernacular traditions such as toasting. Finally, I discuss how form in hip-hop music has increasingly foregrounded the hook (chorus): the emergence of the verse-hook song form, an increase in sung hooks (often by singers outside the hip-hop genre), the earlier arrival of hook sections in songs, and the greater share of a song’s duration occupied by hooks. Viewing hip-hop music’s evolution through this increasing importance of the hook provides a clear representation of the genre’s roots outside of, and assimilation into, mainstream popular music; one of many Black musical genres to have traversed this path (George, 1988).

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Robinson, Suzanne. ""An English Composer Sees America": Benjamin Britten and the North American Press, 1939-42." American Music 15, no. 3 (1997): 321. http://dx.doi.org/10.2307/3052328.

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Guenther, Alan M. "Ghazals, Bhajans and Hymns: Hindustani Christian Music in Nineteenth-Century North India." Studies in World Christianity 25, no. 2 (2019): 145–65. http://dx.doi.org/10.3366/swc.2019.0254.

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When American missionaries from the Methodist Episcopal Church arrived in India in the middle of the nineteenth century, they very soon published hymn-books to aid the Christian church in worship. But these publications were not solely the product of American Methodists nor simply the collection of foreign songs and music translated into Urdu. Rather, successive editions demonstrate the increasing participation of both foreigners and Indians, of missionaries from various denominations, of both men and women, and of even those not yet baptised as Christians. The tunes and poetry included were in both European and Indian forms. This hybrid nature is particularly apparent by the end of the century when the Methodist press published a hymn-book containing ghazals and bhajans in addition to hymns and Sunday school songs. The inclusion of a separate section of ghazals was evidence of the influence of the Muslim culture on the worship of Christians in North India. This mixing of cultures was an essential characteristic of the hymnody produced by the emerging church in the region and was used in both evangelism and worship. Indian and foreign evangelists relied on indigenous music to draw hearers and to communicate the Christian gospel.

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Mark, Andrew. "The Sole Mbira: An Ecomusicological Critique of Singularity and North American Zimbabwean Music." TOPIA: Canadian Journal of Cultural Studies 37 (April 2017): 157–88. http://dx.doi.org/10.3138/topia.37.157.

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Hernández-Banuchi, Alberto. "Gonzalo Núñez, Rubén Darío y el manuscrito Los arcanos de la música." (an)ecdótica 5, no. 1 (2021): 31–59. http://dx.doi.org/10.19130/iifl.anec.2021.5.1.19783.

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We examine the history and circumstance in the life of Puerto Rican composer Gonzalo Núñez (1850-1915) during the period from 1900 to 1903. During his second sojourn in Paris he maintained a close personal relationship with Rubén Darío and Amado Nervo, joined by other poets, writers and artists. An extensive on-site research work, conducted in various European, North American and Caribbean libraries and archives, permitted us to gather documentation about the nomadic life of the musician in Cuba, Mexico, Puerto Rico, Europe and North America. We show that Núñez’s unpublished manuscript Los arcanos de la música, housed in the Archive of Music and Sound of Puerto Rico, is the main source of two important articles by Rubén Darío.

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Forman, Murray. "‘One night on TV is worth weeks at the Paramount’: musicians and opportunity in early television, 1948–55." Popular Music 21, no. 3 (2002): 249–76. http://dx.doi.org/10.1017/s0261143002002179.

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This article addresses a gap in the historical study of music on television by revisiting North American popular music in conjunction with the broadcast medium's early stage of development. Central to its analysis is the fact that music has always been deemed essential to the character and success of television. Emphasising the circulating discourses of ‘opportunity’, the article isolates the ways in which some musicians and others in various sectors of the music industry regarded the new medium as a positive influence at its inception. Among key considerations at the time were issues of musical performance style and aesthetics, repertoire, promotional capabilities, career enhancement, and additional leisure options for audiences.

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Witek, Maria A. G., Jingyi Liu, John Kuubertzie, Appiah Poku Yankyera, Senyo Adzei, and Peter Vuust. "A Critical Cross-cultural Study of Sensorimotor and Groove Responses to Syncopation Among Ghanaian and American University Students and Staff." Music Perception 37, no. 4 (2020): 278–97. http://dx.doi.org/10.1525/mp.2020.37.4.278.

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The pleasurable desire to move to a beat is known as groove and is partly explained by rhythmic syncopation. While many contemporary groove-directed genres originated in the African diaspora, groove music psychology has almost exclusively studied European or North American listeners. While cross-cultural approaches can help us understand how different populations respond to music, comparing African and Western musical behaviors has historically tended to rely on stereotypes. Here we report on two studies in which sensorimotor and groove responses to syncopation were measured in university students and staff from Cape Coast, Ghana and Williamstown, MA, United States. In our experimental designs and interpretations, we show sensitivity towards the ethical implications of doing cross-cultural research in an African context. The Ghanaian group showed greater synchronization precision than Americans during monophonic syncopated patterns, but this was not reflected in synchronization accuracy. There was no significant group difference in the pleasurable desire to move. Our results have implications for how we understand the relationship between exposure and synchronization, and how we define syncopation in cultural and musical contexts. We hope our critical approach to cross-cultural comparison contributes to developing music psychology into a more inclusive and culturally grounded field.

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Blume, Gernot. "Blurred affinities: tracing the influence of North Indian classical music in Keith Jarrett's solo piano improvisations." Popular Music 22, no. 2 (2003): 117–42. http://dx.doi.org/10.1017/s0261143003003088.

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In the first forty years of his career, American pianist Keith Jarrett has established a reputation in multiple stylistic directions. Jarrett has typically incorporated influences as varied as bebop, country, rock, gospel, minimalism, baroque and classical styles into his often lengthy improvisations. Vital to his musical persona, but less obvious, is the influence North Indian classical music has had in shaping Jarrett's improvisatory strategies. Although he never formally studied Indian music, and although his instrument – the piano – is far removed from the conceptual backdrop of North Indian raga performance, Indian music was a central component in the artistic climate out of which his improvised solo recitals grew.A cultural climate of global influences was the backdrop to the development of Jarrett's solo concerts. Therein, perhaps, lies one key to understanding the spell that this music has cast on large and international audiences. With this format, Jarrett tapped into the ambiance of a particular historic moment, which combined a desire for change with the discovery of spiritual and musical traditions outside the Western world.In this paper I will demonstrate how explicit and implicit references to classical Indian principles of music making helped shape Jarrett's unique free solo concerts.

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Hamill, Chad. "Native American Music in Eastern North America: Experiencing Music, Expressing Culture. Global Music Series. By Beverley Diamond. New York: Oxford University Press, 2008." Journal of the Society for American Music 5, no. 4 (2011): 557–59. http://dx.doi.org/10.1017/s1752196311000319.

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Benjamins, Laura. "Learning through praise: How Christian worship band musicians learn." Journal of Popular Music Education 3, no. 3 (2019): 417–33. http://dx.doi.org/10.1386/jpme_00004_1.

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Popular music education continues to increase in North American educational settings. While popular music teaching and learning are recognized in a variety of contexts, contemporary Christian church praise bands have not been significantly addressed in music education literature. In addressing this gap, the purpose of this study is to examine the musicking practices occurring in the contemporary worship music (CWM) context and how these lead contemporary Christian musicians to acquire and develop their musical skills. Green’s five principles of informal music learning were found to apply in part, yet other distinctive features were also present in study findings. Themes such as elitism, excellence, hierarchies of musical engagement, and inclusion/exclusion of worshippers and the congregation also arose, providing interesting areas for future research.

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Mark, Christopher, and Allan Moore. "Editorial." Twentieth-Century Music 1, no. 1 (2004): 3–4. http://dx.doi.org/10.1017/s1478572204000039.

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To start with the obvious: journals come into being for specific reasons. And if one regards the most influential titles born during the last thirty years or so, it seems that one of the principal motivating factors has been interventionist – an attempt to kick-start a particular subdiscipline, or to promote a hitherto neglected or insufficiently examined field. Thus Music Analysis (Basil Blackwell, 1982) sought to place on a fully professional footing a subdiscipline which, whilst recognized in North America (as Music Theory), was at that time underdeveloped in the UK, while 19th Century Music (University of California Press, 1977) sought ‘to stimulate and focus work on what has for too long been American musicology’s lost century’. There is, however, little need to stimulate the study of twentieth-century music(s): if one includes (as we believe one must) popular music, jazz, film music, and twentieth-century developments in traditional musics, as well as ‘art’ or ‘classical’ music, activity in the field is burgeoning at an impressive rate. What is needed, rather, is a dedicated forum. Earlier journals specializing in twentieth-century music (such as Contact and Perspectives of New Music) tended to act as voices for particular constructions of the field. Established generalist journals have frequently found a place for twentieth-century classical music, and more recently (following the trajectory of musicology in general) have begun to widen their scope to include the discussion of popular, film, and traditional music. But as the first three meetings of the Biennial International Conference on Twentieth-Century Music have shown (the third, held in Nottingham, UK, in June 2003, is reviewed in these pages), forums dedicated to the whole range of twentieth-century music promote a synergy and crossfertilization that will inevitably escape generalist journals or those confined to one corner of the field. twentieth-century music aims to provide such a forum; and not the least of our hopes is that, through the contiguity of divergent topics in each issue, the journal will stimulate the creation of new perspectives by encouraging contact with areas and approaches that we might not, as individual scholars, otherwise think to engage with.

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Campbell, Patricia Shehan. "From Cage to Glass: Lessons for the Late Twentieth Century." British Journal of Music Education 7, no. 1 (1990): 15–24. http://dx.doi.org/10.1017/s0265051700007488.

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Because art music of the late twentieth century has received little attention in North American school music settings, this paper proposes a rationale as well as procedures for the teaching of one of its emerging styles: minimalism. A brief historical view of the development of minimalism is offered, the influence of Cage's concepts of music as an ongoing [if indeterminate] process is recognised, and the relationship of minimalism to other musical sytles and genres is noted. Listening lessons for works by composers Terry Riley, Steve Reich, and Phillip Glass are devised, along with suggestions for performance and composition experiences in the music classroom. Due to its eclectic nature, including the influence of rock and pop music, instruction in the music of the minimalist composers is viewed as a gateway to other art music styles and techniques of the late twentieth century.

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Hudson, Andrew Sinclair. "Pentecostal History, Imagination, and Listening between the Lines." PNEUMA 36, no. 1 (2014): 25–44. http://dx.doi.org/10.1163/15700747-03601003.

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As Pentecostals have historically lived, ministered, and led from the margins, their histories often challenge the historian. Reading the religious and social histories contemporaneous to the beginnings of many pentecostal churches and movements is often not enough to discover the complex tapestry of pentecostal voices. Not only oral but also, and particularly, aural historical elements play a key role in the recovery of the “unheard” protagonists in pentecostal histories. The example of Richard Green Spurling and the Church of God (Cleveland, TN) provides an opportunity to imaginatively reconstruct the influences of African Americans on a white Appalachian Baptist-turned-pentecostal preacher. Investigating sung moments of African American prisoners working on a local railroad could shape the religious pedigree of this classical North American pentecostal denomination. This article will explore pentecostal historiography by investigating Spurling and the sung music of African American prisoners as a case study of imaginatively rereading pentecostal histories.

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Journal articles on the topic 'North american music'

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