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Journal articles on the topic 'Rap musicians – united states'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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1

Shirts, Peter. "The African American Collections Relating to Music at Emory University’s Rose Library." Notes 80, no. 4 (2024): 605–31. http://dx.doi.org/10.1353/not.2024.a928765.

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ABSTRACT: United States music history has for years privileged whiteness and largely ignored or disregarded the contributions of African Americans. The Stuart R. Rose Manuscript, Archives, and Rare Book Library at Emory University in Atlanta, Georgia, houses over thirty collections (and growing) related to African American musicians that could be used to both uncover and recover the critical role African Americans played in the music culture of the United States. This article presents a brief overview of these holdings to date, including the papers of composers (such as William Dawson, George

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HAINES, JOHN. "Living troubadours and other recent uses for medieval music." Popular Music 23, no. 2 (2004): 133–53. http://dx.doi.org/10.1017/s0261143004000133.

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This essay aims to expand on existing narratives of medieval music performance by exploring recent interpretations of the troubadours. Recent advances in the field of ethnomusicology, popular music and medieval music reception suggest the need to view medieval music performance in ways other than the conventional narrative of early music performance. This article focuses on the troubadours, originally song-makers in the late medieval Midi, or South of France. Based on my interviews with recent ‘living troubadours’ in the United States and France, I present evidence for multifarious musical int

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Jaffré, Maxime. "Decontextualizing Arabic Music in France and in the United States." Middle East Journal of Culture and Communication 12, no. 1 (2019): 35–67. http://dx.doi.org/10.1163/18739865-01201006.

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Abstract This paper traces the various steps of the redefinition process implemented by Arab musicians performing in France and in the United States. The assembling of Arabic music groups outside their institutional and national borders reveals new patterns and raises several questions: (1) While most Arabic countries do not share the same institutional music traditions, or the same repertoires (Arab-Andalusian vs. maqamat), how can Arabic musicians from different countries assemble outside their institutional and national borders? (2) How can we understand the heterogeneity of repertoires (sc

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Tomlinson, Brendan H. "The Censorship of Misogynistic Rap Music - A Consideration of Gender-Based Harms and Free Speech." Victoria University of Wellington Law Review 26, no. 3 (1996): 531. http://dx.doi.org/10.26686/vuwlr.v26i3.6152.

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The lyrics of gangster rap music have created a storm of controversy in the United States and elsewhere. This article considers the censorship of misogynistic rap music, analysing both the harm which it may do to women, and the way in which free speech principles apply to rap music. The criteria for works to be censored in New Zealand and the United States are analysed. Comments are made about how the New Zealand Classification Office should treat rap music works. It is argued that censorship of rap will rarely be justified. The article concludes by examining an interesting and fundamental dif

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Revelli, Venkatsushanth, and Ayman Ali. "Understanding the State Agency Policies toward RAP Usage in the United States: State of Practice." Recycling 8, no. 6 (2023): 100. http://dx.doi.org/10.3390/recycling8060100.

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The usage of Reclaimed Asphalt Pavement (RAP) material is a highly resource-conservative, economical, and sustainable practice in flexible pavement construction. However, its usage in hot mix asphalt (HMA) is capped at 25% by the majority of state transportation agencies due to its aging levels, stiffness characteristics, and handling capabilities, which may result in early-age pavement distress. Though researchers suggest methodologies to increase RAP usage, higher RAP percentages in asphalt pavements require the support of state authorities. The main objective of this paper is to provide inf

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Boyer, Holly. "The Alert Collector: Hip Hop in the United States." Reference & User Services Quarterly 55, no. 3 (2016): 215. http://dx.doi.org/10.5860/rusq.55n3.215.

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Hip hop is a ubiquitous part of American society in 2015—from Kanye West announcing his future presidential bid to discussions of feminism surrounding Nikki Minaj’s anatomy, to Kendrick Lamar’s concert with the National Symphony Orchestra, to Questlove leading the Tonight Show Band, hip hop has exerted its influence on American culture in every way and form.Hip hop’s origin in the early 1970s in the South Bronx of New York City is most often attributed to DJ Kool Herc and his desire to entertain at a party. In the 1980s, hip hop continued to gain popularity and speak about social issues faced

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Patalano, Frank. "Psychosocial Stressors and the Short Life Spans of Legendary Jazz Musicians." Perceptual and Motor Skills 90, no. 2 (2000): 435–36. http://dx.doi.org/10.2466/pms.2000.90.2.435.

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Mean age at death of 168 legendary jazz musicians and 100 renowned classical musicians were compared to examine whether psychosocial stressors such as severe substance abuse, haphazard working conditions, lack of acceptance of jazz as an art form in the United States, marital and family discord, and a vagabond life style may have contributed to shortened life spans for the jazz musicians. Analysis indicated that the jazz musicians died at an earlier age (57.2 yr.) than the classical musicians (73.3 yr.).

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SullyCole, Althea. "Listening to Kora in New York City: Constructing Africa and Blackness in the United States." Ethnomusicology 66, no. 2 (2022): 319–40. http://dx.doi.org/10.5406/21567417.66.2.07.

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Abstract Drawing upon ethnographic fieldwork with New York City-based musicians, this article observes how the kora, a twenty-one stringed harp from the Mandé region of West Africa, has become integrated into a Black cultural expression in the United States. It highlights the disjunctures between migrant West African kora players and Black musicians and audiences in the United States that result from particular modes of listening. How these conflicts are manifest in the performance context, the author argues, reveals both who and what means, historically, have been authorized to organize a soc

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Mangelsen, Jordan. "Forgive Me, Your Honour, For I Have Sinned." Crossings: An Undergraduate Arts Journal 4, no. 1 (2024): 228–34. http://dx.doi.org/10.29173/crossings203.

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This paper explores the use of rap lyrics in criminal trials across the United States and Great Britain. Rap is a multibillion-dollar industry and has soared in popularity since its inception. In recent years, rap lyrics have been used to ascertain guilt or innocence through the perceived meaning of the specific lyrics. However, there have been no advancements toward appreciating the cultural significance of rap or its status as a legitimate art form. The criminal justice system has favoured treating lyrics as confessions and fails to consider the nuance of the socio-historical context of the

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WELLS, PAUL F., and SALLY K. SOMMERS SMITH. "Irish Music and Musicians in the United States: An Introduction." Journal of the Society for American Music 4, no. 4 (2010): 395–99. http://dx.doi.org/10.1017/s1752196310000349.

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“The Irish came early and often to America,” quipped musicologist Charles Hamm in his landmark book Yesterdays: Popular Song in America. Although the largest waves of immigration occurred during the years of the potato famines in the 1840s and 1850s, the process began long before then and continues to the present day, albeit with many ebbs and flows in the stream. Today nearly 36.5 million people in the United States claim Irish ancestry.

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Koegel, John. "Mexican Musicians in California and the United States, 1910-50." California History 84, no. 1 (2006): 6–29. http://dx.doi.org/10.2307/25161856.

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Wang, Yi. "Hip-Hop Music and Social Identity - An Analysis on the Construction of Jim Smith in the Movie ‘8 Mile’." Asian Journal of Social Science Studies 6, no. 4 (2021): 13. http://dx.doi.org/10.20849/ajsss.v6i4.952.

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When it comes to American hip-hop music and rap music, people always think of the African American singers in loose clothes, the flashing lights on the dirty stage, all kinds of alcohol and cigarettes, as well as many drunken scenes. However, such a familiar scene is indeed an authentic portrayal of the United States. If you have heard about hip hop music, it is not difficult to find that many hip-hop lyrics are often full of dirty abuse, cold ridicule and sharp criticism. In a sense, hip hop music and rap music can be considered a kind of 'voice resistance' from the lower class of American so

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Chung, Brian Su-Jen. "Narrating Failure: MC Jin's Return to Rap in the United States." Biography 41, no. 3 (2018): 568–86. http://dx.doi.org/10.1353/bio.2018.0059.

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Park, Bongsuk, Jian Zou, Reynaldo Roque, George Lopp, and Zhengyu Wu. "Approach for Determination of Maximum Reclaimed Asphalt Pavement Content in Polymer-Modified Asphalt Mixture." Transportation Research Record: Journal of the Transportation Research Board 2674, no. 6 (2020): 420–30. http://dx.doi.org/10.1177/0361198120919403.

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Reclaimed asphalt pavement (RAP), commonly generated from the millings of damaged roads, contains recyclable asphalt and aggregate. Polymer-modified asphalt (PMA) binders have had proven success in mitigating rutting and cracking in asphalt pavements. However, benefits associated with PMA binder may be reduced by aged and more brittle RAP binder. Currently, the maximum usage of RAP in PMA mixture is limited to 10–20% by several Departments of Transportation in the United States. Other than maximum RAP content, no criterion related to RAP characteristics is used to limit RAP usage in PMA mixtur

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Maddux, Kristy. "The Lyceum and Public Culture in the Nineteenth-Century United States (review)." Rhetoric & Public Affairs 10, no. 4 (2008): 752–54. http://dx.doi.org/10.1353/rap.2008.0037.

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Shelemay, Kay Kaufman. "Ethiopian Musical Invention in Diaspora: A Tale of Three Musicians." Diaspora: A Journal of Transnational Studies 15, no. 2-3 (2011): 303–20. http://dx.doi.org/10.3138/diaspora.15.2-3.303.

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This essay, based on ethnographic interviews and observation, discusses the lives and careers of three prominent Ethiopian musicians from sacred, folkloric, and popular musical domains (Moges Seyoum, Tesfaye Lemma, and Mulatu Astatke, respectively) whose individual initiatives have shaped the musical life of the Ethiopian diaspora during its formative years in the United States. These three careers provide an overview of musical activity within the Ethiopian American diaspora community since its inception and shed light on concepts of creativity as conceived both in the Ethiopian homeland and

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Fryer, Paul. "Musicians as heroes: Black singers in the United States and Jamaica." New Community 13, no. 2 (1986): 208–13. http://dx.doi.org/10.1080/1369183x.1986.9975969.

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Prévos, André J. M. "Hip‐hop, rap, and repression in France and in the United States." Popular Music and Society 22, no. 2 (1998): 67–84. http://dx.doi.org/10.1080/03007769808591706.

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Turner, Diane. "Black Music Traditions of Central Avenue." Practicing Anthropology 20, no. 1 (1998): 21–24. http://dx.doi.org/10.17730/praa.20.1.b06g13202633r087.

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Because of the early development of an African American community on Central Avenue, the city of Tampa, Florida provides an excellent environment to document Black music traditions in the southeastern region of the United States. By the late nineteenth century, an urban Black working class had formed on Central Avenue. Black musicians were part of a distinct cultural community, including divergent lifestyles, which were organically linked to the rural and urban life experiences of Black people in the United States and the Caribbean.

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Spears, Amy, Danelle Larson, and Sarah Minette. "Informal music-making among piano bar musicians: Implications for bridging the gap in music education." Journal of Popular Music Education 4, no. 3 (2020): 371–88. http://dx.doi.org/10.1386/jpme_00019_1.

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Recent research in music education has sought to bridge the gap between formal music-making and informal music-making done by many musicians who may have little or no formal musical training. Piano bar musicians fall under the category of musicians who may or may not have had formal musical training but are able to perform covers of a variety of pop songs for live and interactive audiences. Many of them also play multiple instruments. Participants we observed and interviewed in this qualitative study were eight piano bar musicians from various regions of the United States. Key findings include

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Suwadi, Pujiyono, Andi Chaerul Sofyan, and Rifqi Setia Ramdhani. "Legal Comparison Between National Collective Management Institutions in Indonesia and United States." Revista de Gestão Social e Ambiental 18, no. 4 (2024): e04572. http://dx.doi.org/10.24857/rgsa.v18n4-015.

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Purpose: This Study aims to find out about the role of the Indonesian National Collective Management Institution in providing protection for the economic rights of musicians compared to the United States Collective Management Organization on digital era development. Methods: This research method uses normative and empirical legal research methods by using empirical facts from human behavior, both behavior through direct observation or verbally obtained from interviews. Data collection techniques were carried out by conducting interviews with informants and studying documents from written data.

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Gregory A. Olson. "A Time for War: The United States and Vietnam, 1941-1975 (review)." Rhetoric & Public Affairs 1, no. 1 (1998): 133–35. http://dx.doi.org/10.1353/rap.2010.0173.

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Ray, Angela G. "The Right to Vote: The Contested History of Democracy in the United States (review)." Rhetoric & Public Affairs 4, no. 4 (2001): 766–68. http://dx.doi.org/10.1353/rap.2001.0068.

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24

Patalano, Frank. "Psychosocial Stressors in the Lives of Great Jazz Musicians." Perceptual and Motor Skills 84, no. 1 (1997): 93–94. http://dx.doi.org/10.2466/pms.1997.84.1.93.

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Brief biographical information on four great jazz tenor saxophone players of the past is presented to illustrate the similar psychosocial stressors these men seemed to experience, namely, severe substance abuse, haphazard working conditions, lack of acceptance of their art form in the United States, marital and family discord, and a vagabond life style. Ages at death of 80 great jazz musicians may indicate that the stressful life style of jazz musicians may be reflected in a shortened life span, but a control group is needed.

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Elnihum, Ahmed, Qing Lu, Mohammad Alharthai, Mohammed Alamri, Can Chen, and Asad Elmagarhe. "Evaluation of an Asphalt Mixture Containing a High Content of Reclaimed Asphalt Pavement (RAP) Materials with Epoxy Asphalt." Sustainability 16, no. 12 (2024): 4988. http://dx.doi.org/10.3390/su16124988.

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The average content of reclaimed asphalt pavement (RAP) materials in asphalt mixtures for new pavements is around 22% in the current paving practices in the United States. Increasing this content has significant economic and environmental benefits. This study explored the approach of producing asphalt mixtures with 100% RAP materials by adding a small percentage of epoxy asphalt. Specimens of 100% RAP mixtures with low contents of epoxy asphalt were fabricated and evaluated in the laboratory for their properties related to pavement performance, including Marshall stability and flow, indirect t

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Saunders, Grant Leigh, and Rachael Gunn. "Australia." Global Hip Hop Studies 3, no. 1 (2022): 23–32. http://dx.doi.org/10.1386/ghhs_00060_1.

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In this contribution, we provide a brief overview of the development of Hip Hop culture in Australia, looking specifically at rap and breaking (breakdancing). We show how Australian rap has for a long time been dominated by white Australian artists attempting to solidify an Aussie Hip Hop identity distinct from the United States. Because rap from Indigenous and Culturally and Linguistically Diverse (CaLD) communities did not fit the tropes of dominant (white) Australian culture, and were instead disregarded as simple mimicry of African American rap, the gatekeepers of Aussie Hip Hop for a long

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McManus, Emily J. "The Tango in Translation: Intertextuality, Filmic Representation, and Performing Argentine Tango in the United States." TranscUlturAl: A Journal of Translation and Cultural Studies 5, no. 1-2 (2014): 194. http://dx.doi.org/10.21992/t9w34w.

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This article analyzes representations of the Argentine tango by the U.S. media utilizing Farzaneh Farahzad’s theory of “translation as intertextual practice” and Lawrence Venuti’s theory of translated “adaptations.” I argue that the juxtaposition of Latin American and European cultural stereotypes within filmic representations of the tango has created and reinforced a highly racialized master discourse (Said Faiq) that continues to influence how the Argentine tango is perceived in the United States today. Because cultural translation occurs between a hegemonic culture and a marginalized cultur

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CRANITCH, MATT. "Paddy Cronin: Musical Influences on a Sliabh Luachra Fiddle Player in the United States." Journal of the Society for American Music 4, no. 4 (2010): 475–89. http://dx.doi.org/10.1017/s1752196310000398.

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AbstractIn the world of Irish traditional music, Paddy Cronin from Sliabh Luachra in the southwest of Ireland is regarded as one of the tradition's exceptional fiddle players. Although his music exhibits many characteristics of the Sliabh Luachra tradition, it also has other elements and features, primarily from the Sligo style. A pupil of Pádraig O'Keeffe (the “Sliabh Luachra Fiddle Master”), Cronin emigrated to Boston in 1949 and lived there for approximately forty years. Before he left Ireland, he had been familiar with the music of the Sligo masters, such as Michael Coleman and James Morri

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Omerbas, Ali Cagil. "A Specter is Haunting the Hood: Traces of Socialism in Rap Music." Journal of Communication 2, no. 1 (2018): 1–12. http://dx.doi.org/10.47941/jcomm.237.

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This article aims to demonstrate the links between the Hip Hop Culture -especially rap music- and the ideas of philosophers, politicians and activists of the left view. Although rap music has turned into a multi-million dollar industry in United States, Hip Hop artists maintain the revolutionary world view of the black freedom movement, which has not ceased since the early days of slavery. Starting from the mid-20th century, the movement became much more organized and aimed to equip black people with socialist ideas, hoping to create an extremely educated and self-sufficient community. The ide

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Stanek, Jeremy L., Kevin D. Komes, and Fred A. Murdock. "A Cross-Sectional Study of Pain Among U.S. College Music Students and Faculty." Medical Problems of Performing Artists 32, no. 1 (2017): 20–26. http://dx.doi.org/10.21091/mppa.2017.1005.

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OBJECTIVES: Studies over recent decades have demonstrated significant performance-related pain among professional musicians. However, there have been no large-scale studies to evaluate pain among college musicians. The aim of this study was to determine the prevalence and anatomical locations of performance-related pain among students and faculty at the college level and learn what musicians do when they have pain. METHODS: Cross-sectional data were collected using an online survey distributed to colleges across the United States. Data were analyzed using REDCap electronic data capture tools a

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Gilbers, Steven, Nienke Hoeksema, Kees de Bot, and Wander Lowie. "Regional Variation in West and East Coast African-American English Prosody and Rap Flows." Language and Speech 63, no. 4 (2019): 713–45. http://dx.doi.org/10.1177/0023830919881479.

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Regional variation in African-American English (AAE) is especially salient to its speakers involved with hip-hop culture, as hip-hop assigns great importance to regional identity and regional accents are a key means of expressing regional identity. However, little is known about AAE regional variation regarding prosodic rhythm and melody. In hip-hop music, regional variation can also be observed, with different regions’ rap performances being characterized by distinct “flows” (i.e., rhythmic and melodic delivery), an observation which has not been quantitatively investigated yet. This study co

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Beasley, Gerald. "Curatorial Crossover: Building Library, Archives, and Museum Collections." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 8, no. 1 (2007): 20–28. http://dx.doi.org/10.5860/rbm.8.1.272.

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I tend to associate the word “crossover” with popular music. I think of crossovers as being those artists whose music has successfully crossed over from a smaller market to a bigger one, like Mexican musicians making it big in the United States, or black musicians making it big with white audiences. And I frankly love the idea that I, as a librarian, might be able to make a curatorial crossover into a bigger market, much as Ricky Martin or Otis Redding made a musical crossover. Of course, I would have to address the two most common criticisms that are made . . .

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COLLINS, TIM. "'Tis Like They Never Left: Locating “Home” in the Music of Sliabh Aughty's Diaspora." Journal of the Society for American Music 4, no. 4 (2010): 491–507. http://dx.doi.org/10.1017/s1752196310000404.

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AbstractThis article, which builds on research in the fields of Irish traditional music, place, and diaspora, focuses on a community of diasporic musicians from Sliabh Aughty, an upland region of approximately 250 square miles that encompasses the musical storehouses of east Clare and southeast Galway in the West of Ireland. It examines the importance of home for these musicians, who have been resident in the United States for many decades. Their personal music geographies are explored to ascertain how traditional Irish music plays a critical role in transcending their sense of dislocation and

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Bienvenu, Grégoire. "‘Know the ropes, learn the ropes’: Hip hop, knowledge and Wang Yitai." Global Hip Hop Studies 5, no. 1 (2024): 177–83. http://dx.doi.org/10.1386/ghhs_00089_7.

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王以太 Wang Yitai is a 29-year-old Chinese rapper from the city of Chengdu, the capital of Sichuan, located in the western region of China. From his self-released debut mixtape Ready to Flow (2015), recorded while he was studying in the United States, to his latest albums 演.说.家 (‘Perform, Speak, Family’) (2019) and 幸存者的负罪感 (‘Survivor’s Guilt’ – feat AIR) (2021), Wang Yitai quickly rose to success to become one of the most famous and appreciated rappers nationwide. Anchoring his practice in one of the most eminent cities for rap in China, he actively integrated the historical landscape of the loca

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Dunbar, Adam. "Art or Confession?: Evaluating Rap Lyrics as Evidence in Criminal Cases." Race and Justice 10, no. 3 (2018): 320–40. http://dx.doi.org/10.1177/2153368717749879.

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For decades, scholars have studied mechanisms that might explain racial disparities in the criminal justice system. One novel example of a practice that may contribute to continuing disparities is the introduction of defendant-authored rap lyrics as evidence in criminal trials. Across the United States, prosecutors are introducing rap lyrics as confession evidence to establish guilt. Concerns about this practice have been articulated by scholars and others but rarely empirically examined. This study begins to address this lacuna. In particular, this study examines how lyrics are evaluated when

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Puppala, Anand J., Aravind Pedarla, Bhaskar Chittoori, Vijay Krishna Ganne, and Soheil Nazarian. "Long-Term Durability Studies on Chemically Treated Reclaimed Asphalt Pavement Material as a Base Layer for Pavements." Transportation Research Record: Journal of the Transportation Research Board 2657, no. 1 (2017): 1–9. http://dx.doi.org/10.3141/2657-01.

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For several years reclaimed asphalt pavement (RAP) material has been used as a construction material in hot-mix asphalt (HMA) to reduce material costs and stabilize pavements. Of the 45 million tons of RAP produced every year in the United States, only 33% is being used in HMA. Recent studies have demonstrated that RAP can be used effectively in base layers when it is blended with aggregate base materials and stabilized with cement or fly ash additives. This adoption in the pavement base layer helps maximize the reutilization of RAP material and minimize its disposal in landfills, thereby maki

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Benjamin, Stanley G., John M. Brown, and Tatiana G. Smirnova. "Explicit Precipitation-Type Diagnosis from a Model Using a Mixed-Phase Bulk Cloud–Precipitation Microphysics Parameterization." Weather and Forecasting 31, no. 2 (2016): 609–19. http://dx.doi.org/10.1175/waf-d-15-0136.1.

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Abstract The Rapid Refresh (RAP) and High-Resolution Rapid Refresh (HRRR), both operational at NOAA’s National Centers for Environmental Prediction (NCEP) use the Thompson et al. mixed-phase bulk cloud microphysics scheme. This scheme permits predicted surface precipitation to simultaneously consist of rain, snow, and graupel at the same location under certain conditions. Here, the explicit precipitation-type diagnostic method is described as used in conjunction with the Thompson et al. scheme in the RAP and HRRR models. The postprocessing logic combines the explicitly predicted multispecies h

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Symes, Colin. "A sound education: the gramophone and the classroom in the United Kingdom and the United States, 1920–1940." British Journal of Music Education 21, no. 2 (2004): 163–78. http://dx.doi.org/10.1017/s0265051704005674.

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The advent of the gramophone transformed the cultural conditions of contemporary music, including the way it was taught. For a considerable period of time, musicians and music educators disparaged the gramophone. The members of the musical appreciation movement were more sympathetic and helped transform the gramophone's educational image during the 1920s and 1930s. They argued that the gramophone, contrary to its detractors, might stem the appeal of popular music. As is clear from the sentiments of those espousing the pedagogic uses of the gramophone – which are analysed in this paper – their

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Bhatt, Alkesh, and Sanjeev Suman. "Evaluation of the Effect of RAP and Lime on Geotechnical Properties of Clayey Soil." International Journal for Research in Applied Science and Engineering Technology 10, no. 4 (2022): 2531–41. http://dx.doi.org/10.22214/ijraset.2022.41839.

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Abstract: Road network plays a large role in the rapid development of the economy of a country, providing connectivity to remote areas for various transportation activities. India ranks second in the world in terms of length of road network after the United States. The major road network in the urban locality consists of bituminous pavements periodically resurfaced during maintenance. From the milling process, reclaimed asphalt pavement (RAP) is obtained. Additionally, RAP can be used for the utilization of recycled asphalt pavement (RAP) materials in subgrade soil. Reclaimed Asphalt Pavement

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Werb, Bret Charles, and Maria V. Lebedeva. "The Aleksander Kulisiewicz Collection at the United States Holocaust Memorial Museum: An Introduction." Observatory of Culture 17, no. 5 (2020): 478–95. http://dx.doi.org/10.25281/2072-3156-2020-17-5-478-495.

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Envisioned by its founders as a storehouse of historical evidence — material artifacts, written and oral testimonies, photographs and films — the U.S. Holocaust Memorial Museum in Washington DC is the repository of a significant archive of music salvaged from the Nazi ghettos and camps. This paper focuses on the Museum’s single largest music collection, that of the Polish camp survivor Aleksander Kulisiewicz (1918—1982). A native of Kraków, Poland, who spent over five years as a political prisoner in Sachsenhausen, Kulisiewicz in later life grew obsessed with documenting the repertoire that hi

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Quigley, Nicholas Patrick, and Tawnya D. Smith. "The educational backgrounds of DIY musicians." Journal of Popular Music Education 00, no. 00 (2021): 1–21. http://dx.doi.org/10.1386/jpme_00053_1.

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In this qualitative, exploratory study we examined the music education backgrounds and current creative practices of thirteen self-described do-it-yourself (DIY) musicians from around the United States. A growing community of scholars within and outside of education have noted the relative inclusionary nature of DIY communities as compared to mainstream society. Several themes have emerged in DIY music participation literature, including social influences and isolation, and music making for self care and self expression. DIY music-making can offer a potentially liberating space for those margi

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Gregory, Dianne. "Analysis of Listening Preferences of High School and College Musicians." Journal of Research in Music Education 42, no. 4 (1994): 331–42. http://dx.doi.org/10.2307/3345740.

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Undergraduate college music majors, high school musicians in performance groups, and sixth-grade students in eight sites across the United States listened to brief excerpts of music from early contemporary compositions, popular classics, selections in the Silver Burdett/Ginn elementary music education series, and current crossover jazz recordings. Each of the classical categories had a representative keyboard, band, choral, and orchestral excerpt. Self reports of knowledge and preference were recorded by the Continuous Response Digital Interface (CRDI) while subjects listened to excerpts. Inst

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Benjamin, Stanley G., Stephen S. Weygandt, John M. Brown, et al. "A North American Hourly Assimilation and Model Forecast Cycle: The Rapid Refresh." Monthly Weather Review 144, no. 4 (2016): 1669–94. http://dx.doi.org/10.1175/mwr-d-15-0242.1.

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Abstract The Rapid Refresh (RAP), an hourly updated assimilation and model forecast system, replaced the Rapid Update Cycle (RUC) as an operational regional analysis and forecast system among the suite of models at the NOAA/National Centers for Environmental Prediction (NCEP) in 2012. The need for an effective hourly updated assimilation and modeling system for the United States for situational awareness and related decision-making has continued to increase for various applications including aviation (and transportation in general), severe weather, and energy. The RAP is distinct from the prev

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Chunnu, Winsome. "Under the Eagles Wings: America, God Shed a Tear on Thee." Cultural Studies ↔ Critical Methodologies 20, no. 5 (2019): 468–70. http://dx.doi.org/10.1177/1532708619885401.

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Bob Marley says one good thing about music—when it hits you, you feel no pain. So hit me with music. On the transition of Aretha Franklin, and the vitriolic trolling of her funeral and Childish Gambino 2019 Grammy award winning song and record of the year for “ This is America,” this piece is using music as a conceptual frame for understanding the pain of Black people in the United States. Recently, musicians Beyoncé, Childish Gambino, Kendrick Lamar, Pink, and many others have used their music to contest inequality in America. I grew up in Jamaica on Motown, Country, and Reggae music. This is

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Nugroho, Dwi Mifta, Muhammad J. B. Firdaus, and Adam J. Wijaya. "The Anti-War Movement through Romanticism of the Hippies Culture on Vietnam War 65-73." Jurnal Hubungan Internasional 13, no. 2 (2020): 295. http://dx.doi.org/10.20473/jhi.v13i2.21290.

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In this paper, the authors try to provide an overview of the new socialmovement variant, which is the anti-war movements initiated by hippies.The hippie culture developed rapidly in the 1960s in the United Statesand now has spread to the whole world through cultural globalization.Hippie Movement itself is a subculture movement that has a significantrole in forming a counter-culture in the United States. This movement’ssuccess cannot be separated from the support of the musicians ofthe world through popular culture that will be discussed in this paper throughcultural globalization.

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Cooks, Leda M. "Not Just Black and White: Historical and Contemporary Perspectives on Immigration, Race, and Ethnicity in the United States (review)." Rhetoric & Public Affairs 9, no. 2 (2006): 344–47. http://dx.doi.org/10.1353/rap.2006.0038.

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Rice, Timothy. "Schools of Music as Social Institutions in Service to Society." MUSICultures 50 (March 18, 2024): 111–31. http://dx.doi.org/10.7202/1110013ar.

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<p>Faculties and schools of music in Canada and the United States define their missions narrowly; their curricula continue to be devoted almost exclusively to a music culture created in Europe and exported to colonial and postcolonial settings around the world. These institutions teach an exclusionary aesthetic philosophy rooted in white supremacy, one that results in the unethical exclusion of musicians and musical cultures created by the communities and societies that universities are meant to serve. After analyzing the content of, and the ideas behind, various course syllabi, the auth

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NIELSEN, KRISTINA F. "Forging Aztecness: Twentieth-Century Mexican Musical Nationalism in Twenty-First Century Los Angeles." Yearbook for Traditional Music 52 (November 2020): 127–46. http://dx.doi.org/10.1017/ytm.2020.18.

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Abstract (Spanish/English)Forjando el Aztecanismo: Nacionalismo Musical Mexicano del Siglo XX en el siglo XXI en Los ÁngelesHoy en día, un creciente número de músicos mexico-americanos en los Estados Unidos tocan instrumentos indígenas mesoamericanos y réplicas arqueológicas, lo que se conoce como “Música Azteca.” En este artículo, doy a conocer cómo los músicos contemporáneos de Los Ángeles, California, recurren a los legados de la investigación musical nacionalista mexicana e integran modelos antropológicos y arqueológicos aplicados. Al combinar el trabajo de campo etnográfico con el análisi

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Drane, Gregory. "The Role of African-American Musicians in the Integration of the United States Navy." Music Educators Journal 101, no. 3 (2015): 63–67. http://dx.doi.org/10.1177/0027432114565132.

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Ray, Daniel E. "Military Bands and Government Documents." DttP: Documents to the People 44, no. 4 (2017): 27. http://dx.doi.org/10.5860/dttp.v44i4.6227.

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Since before the founding of the United States, musicians have been an integral part of the military. Throughout history armies have used trumpets and drums to enhance communication and assist the movement of mass forces. Over time, the military has influenced both the makeup of musical ensembles, and styles of popular music. The modern American wind band featuring brass, woodwinds and percussion, is modeled after British military bands. And the marches of John Phillip Sousa, who served as the director of the President’s Own Marine Band for twelve years, remain popular to this day. His “Stars

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