Academic literature on the topic 'Slickee Boys (Musical group)'

Recountings of the Washington, DC punk rock scene’s history often start with the founding of Dischord Records in 1980 and focus on the subsequent ascent of Dischord co-owner Ian MacKaye’s bands like Minor Threat and Fugazi. As seminal as Dischord remains in the narrative of DC punk ‐ a community still thriving today ‐ the years just prior to the label’s founding generated the scene’s true incunabula. Beginning with the self-released debut EP from the Slickee Boys in 1976, this first wave of DC bands ‐ also including Razz, Nurses, White Boy and others ‐ combined elements of art rock, surf, proto-punk, pub rock and power pop together to craft a protean version of punk that embraced eccentricity and humour, serving as the city’s own defiant rebuke of the staid state of 1970s rock music. No record label was more central to the nascent punk scene in DC than Limp Records. Operated by Skip Groff, Limp provided the punk community with its first proper record label. Rather than a label that centred around the efforts of a single band ‐ as most other new DC punk labels did ‐ Limp issued singles for several groups, collaborating with the fledgling Dacoit and O’Rourke labels to co-release defining singles for the Slickee Boys and Razz. DC punk would not have taken shape the way it did without Groff’s efforts, particularly considering his connections with bands like Bad Brains and the Slickee Boys and his musical and entrepreneurial influence on local teenage punks like MacKaye, Jeff Nelson and Henry Rollins. This article is a history of DC punk record labels from 1976 to 1980 and seeks to establish this overshadowed era of the scene as one of the most critical in the community’s 43-year existence. Considering the outsize influence the DC scene ultimately had on punk culture ‐ whether through the eponymous clean living philosophy inspired by the Minor Threat song ‘Straight Edge’, the unwaveringly independent business model of Dischord or the pacesetting music reliably turned out each decade by participants in the scene ‐ the impact of Groff and his first wave DC punk peers must be acknowledged.

The paper describes a research project undertaken recently in four primary schools. The study involved an investigation of those factors which motivated the members of a study group of 48 pupils to start learning to play a musical instrument. The findings of the research identify the importance of interest factors and the encouragement of the teacher as determinants of pupils' decisions. There is some indication of differences in the criteria used by girls and boys, particularly with regard to the socialisation aspect of instrumental learning.

The aim of this mixed-methods study was to investigate the development of children’s improvised song endings over the course of two years, through researcher-led tasks. While quantitative data were used to examine the roles of age, biological sex, and music training on children’s improvised song endings and pitch-matching skills, qualitative data were gathered to shed light on the musical contents of improvisations, the strategies used by children when improvising, and children’s reactions to different improvisatory tasks. Although scores for both improvised song endings and pitch-matching skills increased with age ( p < .01), there were no significant group differences between musically-trained children and their untrained peers. Additionally, girls outperformed boys in both improvisation and pitch-matching tasks ( p < .01). Qualitative data offered six strategies that children used to improvise song endings, and suggested that engagement in improvisational tasks depends on a combination of children’s musical skills and interests, and familiarity with the tasks.

Young musicians often report problems with their upper limbs and spine due to their specific and asymmetric positions and actions while playing, which may contribute to overloading these structures. Diagnosing any disorders to the upper limbs or spine early may help to minimize the risk of developing any serious instrument-related health problems in the future. The aim of this study was to assess the anteroposterior (AP) spinal curvatures in children learning to play the violin. Previous studies have shown anthropomorphic differences in young adult musicians, and our study examined if these differences appeared early or late in the musician’s career. METHODS: Body posture of 101 children, aged 7–12 yrs (mean 11.09±1.48), was assessed. The study population consisted of 49 child violinists and a control group of 52 children who did not play any musical instrument. There were 81.19% girls and 18.81% boys. Body posture was analyzed using the MORA 4G. RESULTS: The violinist group showed significant differences in the thoracolumbar region angle (p=0.004) compared to the non-musical children. The remaining parameters did not reveal significant differences between groups. The parameter characterizing the location of kyphosis peak calculated from the spinous process of the C7 vertebra was significantly higher in the study population. CONCLUSIONS: Changes in body posture in children who play the violin appear early in their training. Body postures when playing the violin lead to some changes in parameters characterizing AP spinal curvatures in the sagittal plane.

In the past and to some extent the present, various Euro North American and other cultural groups marked the period from Christmas Eve to Twelfth Night with rowdy, disguised, playful/ludic or carnivalesque behaviour that mainstream Euro North Americans associate more with Halloween than with this holiday season. Many such customs, termed the “informal house visit” involve a group (usually young men) who perambulate from one location to another within a community. They include performative aspects–often dancing and singing–as well as the expectation of a reward--usually food and/or drink--and some sociability with the visited household members. A seasonal custom performed by young men, almost always on New Year’s Eve, in rural Manitoba Mennonite villages where the church tolerated it, Brommtopp is named after the musical instrument used during the performance. Traditionally a group of some dozen teenaged boys and young married men would drive and/or walk from house to house within their own village and sometimes beyond. At each residence, the group would sing the traditional song which generally asked for money in return for good wishes. We examine the sociohistorical surround of the practice and its past and current racialised and postcolonial implications.

The purpose of this study was to determine whether selected nonmusical attributes of sixth-grade pianists would affect ratings of their performances. Twenty pianists (10 girl and 10 boys) were videotaped. They and their performances were rated by 123 musically trained evaluators. Members of the visual group viewed a videotape with the sound turned off. They rated pianists on appropriateness of dress, stage behavior, and physical attractiveness. These ratings were the basis for grouping students as being high or low on each of these three attributes. Audiovisual and audio group members rated musical performance on five test items. Results revealed support for the existence of a bias: although high pianists were rated higher than low pianists under the audio condition for all three attributes, the differences between them often were significantly greater under the audiovisual condition than under the audio-only condition. In addition, and unlike finding of earlier studies, videotaped performances were not rated higher than audiotaped performances. Also, female judges were more lenient than male judges. Finally, male and female pianists were affected differently by nonmusical attributes for about half of the test items.

The purpose of this study was to determine the relative frequency of performance-related injuries in patients age 18 and younger who presented to a specialized performing arts clinic. A total of 314 student musicians age 18 and younger were seen at the specialty clinic between its inception in 1985 and November 2002. Retrospective chart review and analysis of the resulting data were conducted. Information collected included presenting complaint, problem location, and diagnosis. Data were analyzed with respect to gender, instrument played, and ligamentous laxity. The upper extremity was the most common injury location. The lateralization and anatomic location of the injuries were influenced by the instrument played. The most frequent problems were musculoskeletal pain syndrome and excessive muscle tension. Lack of physical conditioning and poor instrumental technique also were commonly noted. Ligamentous laxity of the wrist and fingers was found in a proportion higher than in that of the general population and was related to the number and the type of physical diagnoses made. Laxity was more common in girls. Other diagnoses that were more frequent among female musicians included lack of conditioning, intrinsic hand muscle weakness, and scoliosis. In boys, carpal tunnel syndrome and tendinitis were more common. The findings suggest that young age is not a protective factor against playing-related injuries. Physicians caring for musicians in this age group should have an awareness of the problems and risk factors related to playing musical instruments.

One of the most widespread and striking folklore cycles in the Pirin region are the songs sung at a working-bee. They represent almost 1/3 of the song diversity of this region and are a preferred genre among the local population. A large part of the working-bee songs distributed in the Pirin region are non-measured. Their non-measured nature is determined primarily by their function as songs accompanying a particular work activity. The working-bee non-measured songs are an integral part of the life of the Pirin population. They are performed during the doing of some common work – tobacco stringing, sewing, knitting and are sung mainly by young people in the village - boys, girls, young brides. Some working-bee songs have a specific purpose in the work process. There are songs for starting the working-bee and songs that are sung when the girls are going out of the bee, as well as spring and autumn bee songs. Antiphonic singing is also typical of this type of non-measured songs. During the common labor activity, more people meet together in one place, which favors the emergence of various and interesting forms of performance. Often singers are split into two groups of two or three singers, with one group singing in and the other singing out. The performance of the working-bee non-measured songs is characterized by sharp, ringing sound, and the singing is intense, open. In formal-structural terms, non-measured working-bee songs are extremely diverse. There are one-tone and two-tone songs, and more and more often nowadays, the old local two-voice is being replaced by the performance of songs in parallel thirds. The working-bee song cycle is particularly rich in a variety of subjects. There are historical, haiduk, heroic stories, songs related to daily work, family life, love. For the most part, working-bee non-measured songs in the Pirin region are performed in a two-tone manner, mostly the old, local songs. The homophonic ones that have arisen in recent times are mostly with historical themes, reflecting events from the Liberation Wars, the Balkan War, etc., as well as songs with a love theme. The so-called working-bee choruses are also very common in this region, sung in a variety of tunes, some of which are not local but come from other folklore areas. Due to their peculiarities and characteristics, the working-bee non-measured songs are defined as a specific song group in the musical folklore of the Pirin region. This paper examines and analyzes their peculiarities in terms of their formal-structural components - melody, musical form, ambitus, mode, polyphony, ornamentation, rhythmic characteristic, the purpose of which is to highlight their distinctive features and specifics.

In recent years, there has been an increasing interest in Ukrainian choral music of the modern generation of composers. Hanna Havrylets’ choral works are topical for performers and scholars. The musical and stage performance “We will sow the Golden Stone” is an example of embodiment the idea of united Ukraine, which was preserving its actuality during the all history of the country. Hanna Havrylets is an artistic figure, whose creative work unites Western and Eastern Ukraine. She was born in Galicia, studied and worked in the capital city. Her music reached Eastern Ukraine, where the artist’s choral works are performed by almost every choir group and where they have become the favorite among performers and listeners. Concerning choirs of Kharkiv region, we should mention the Chamber Choir named after Viacheslav Palkin of Kharkiv Regional Philharmonic Society, the Opera Studio Choir and the Student Choir of Kharkiv National University of Arts named after Ivan Petrovych Kotliarevsky, the Student Choir of Kharkiv State Academy of Culture. Research aims and methods. We tried to identify Hanna Havrylets’ choral works’ characteristic features, which are a symbol of the nation’s unity in the contemporary Ukrainian musical space, as well as some religious, philosophical and traditional folk features of the national identity, which perform the unifying function in the Ukrainian musical art. Research results. The features of H. Havrylets’ works that connect the cultural poles became a religious orientation (appeal to the Orthodox tradition), reliance on folklore and national historical and cultural traditions, which, combined with professional skills and composer talent, allowed her to create unique creative projects. One of such projects is the musical stage performance “We will sow the Golden Stone” (1997). The work was created for the People’s Artist of Ukraine Nina Matviyenko (soloist), a choir of boys and a symphony orchestra, the author of the poems is Sofiya Maidanska. Its uniqueness is in the fact that it combines almost all the genres of Ukrainian folk music in one piece united by the only idea of covering all the milestones of Ukrainian history starting from the World Creation and up to the present days. The artistic method of synthesizing musical and stage performance has a multi-level manifestation. Synthesis of art types (music, fine arts, choreography and theater) is supplemented with synthesis of styles, genres, and contents. H. Havrylets skillfully combines peculiarities of artistic thinking, characteristic of Ukrainian folklore, with contemporary composer vision; also the folkloric manner of singing – with the academic. Having considered the musical and stage performance “We will sow the Golden Stone” by H. Havrylets, we found common for Ukrainian culture and art features, which support the idea of unity and collegiality of Ukraine. These common religious, folkloric, philosophical features constitute a single spiritual system of the national culture. Due to her composer talent, H. Havrylets created a complete picture of author’s vision of united Ukraine, embodied in her work all major milestones of the country’s history (from the ancient times and up to the present days), traditions and beliefs of the Ukrainian people (religious and everyday ones), their identity by including regional features into a single system of the Ukrainian nation’s values in the past and the present. An analysis of the work by H. Havrylets gives reason to believe that the composition of the work is carried out on the principle of “unity and diversity”, the use of which contributes to a more vivid expression of its main idea. The unique, original features of the different eras of the history of Ukraine, its geographical regions, the art of its outstanding creators (composers, poets and performers) are combined into a single “portrait” of the Ukrainian nation, in a common image of its mentality and culture. Summary. Thus, in the process of analyzing the musical stage performance “We will sow the Golden Stone” the religious, folklore, and worldview signs of national identity were revealed, bearing the idea of the collegiality of the Ukrainian people. Religious signs include reproduction by the composer of Pagan tradition, coverage of the Pagan era, for which ritual folklore of the ancient Slavs was used; subsequently – and Orthodox symbolism, in praising the original Christianity and the Cossacks as the defender of their native land, thanks to the appeal to the genres “koliadka”, “szhedrivka” (traditional songs usually sung on Christmas holidays), historical songs, works of authors known throughout Ukraine. The folklore signs of the national identity of the work embodying the idea of the collegiality of Ukraine include the use of folklore primary sources collected in different parts of Ukraine by Nina Matviyenko, as well as the coverage of all genres of Ukrainian folklore reflected the foundations of the worldview and everyday life of the people of all regions of the country. An expression of the ideological foundations of national identity and unity became the composer’ coverage of milestones in the history of Ukraine, historical events that happened with Ukraine as a whole – the Golden Horde’ invasion, the exploits of the Zaporozhian Sich, events of the twentieth century, which were tragic for both, Western and Eastern Ukraine. It was in these events that the eternal desire of the Ukrainian people for freedom was clearly manifested, they became symbols of his struggle for territorial integrity and his own religion and self-expression (national consciousness, culture, art), for an ideal future. Since the historical process of unity of the Ukrainian nation has not yet been completed, the problems of this study within the framework of Ukrainian musical art have prospects for further development.

Previous literature in cognitive psychology has provided data involving differences in language processing between men and women. It has been found that women are usually more proficient with certain semantic categories such as fruit, vegetables and furniture. Men are reported to be better at other categories semantic, e.g. tools and transport. The aim of this article is to provide an inquiry about possible differences in semantic category processing of living things (LT) and inanimate objects (IO) by Argentinian Spanish-speakers school-aged children. The group of 86 children between 8 and 12 years old (51.16% boys) has been assessed on a semantic fluency task. Six semantic categories have been tested, three of them from the LT domain (animals, fruit/vegetables, and body parts) and three from the IO domain (transport, clothes and musical instruments). Results showed differences in semantic processing between boys and girls. 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Musical careers develop along particular trajectories as a consequence of the relationships that are established between the musician and the industry. This thesis studies the nature of these relationships and the manner in which they contribute to the development of a musical career. The dichotomy between the artistic concerns of the musician and the economic interests of the industry that informs many popular music studies is re-oriented in light of the economic interests that are inherent in the musician's pursuit of a musical livelihood. The importance of commercial success in the maintenance of a musical living is explored in the case study of Men Without Hats, a Montreal based pop band that has maintained a fifteen year career despite a lack of commercial success over the past decade. This study suggests that the maintenance of a musical career over an extended period of time is a consequence of the types of relationships that are cultivated by the musician over the course of his/her career.

The work of contemporary musicians helps explain the significance and legacy of early American punk and the world in which it was created. This conclusion looks first at the continued contradictions and paradoxes of the blues’ central role in punk, through the music of Harry Pussy, This Moment in Black History, and others. The chapter then considers the ways in which groups such as Downtown Boys use a variety of musical approaches to establish female and Latinx punk lineages that intersect or run parallel to taken-for-granted narratives. Then the chapter considers the paradoxes of punk history and the forces of nostalgia through a consideration of the story of Death, an unknown Black rock group from mid-1970s Detroit with newfound success in the 2000s, as well as the diverse styles of contemporary groups such as Soft Pink Truth and Show Me the Body.