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Relevant bibliographies by topics / Sonic Youth

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Academic literature on the topic 'Sonic Youth'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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Journal articles on the topic "Sonic Youth"

1

Folmer, Robert L. "Sonic Youth." ASHA Leader 18, no. 5 (2013): 44–50. http://dx.doi.org/10.1044/leader.ftr2.18052013.44.

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Okada, T., and A. Ogawa. "The Sonic Life of a Giant Tortoise: Youth Is Not the Only Thing That's Sonic." Theater 43, no. 1 (2013): 109–25. http://dx.doi.org/10.1215/01610775-1815548.

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Heetderks, David. "Hardcore Re-visioned: Reading and Misreading in Sonic Youth, 1987-8." Music Analysis 32, no. 3 (2013): 363–403. http://dx.doi.org/10.1111/musa.12013.

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Jongh, Karlijn De. "Sonic Youth, Karlijn De Jongh, Green on Red Gallery, Dublin, June - July 2008." Circa, no. 125 (2008): 93. http://dx.doi.org/10.2307/25564961.

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Garcia, Antero, Stephanie M. Robillard, Miroslav Suzara, and Jorge E. Garcia. "Bus riding leitmotifs: making multimodal meaning with elementary youth on a public school bus." English Teaching: Practice & Critique 20, no. 3 (2021): 398–412. http://dx.doi.org/10.1108/etpc-07-2020-0080.

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Purpose This study explores student sensemaking based on the creation and interpretation of sound on a public school bus, operating as a result of a desegregation settlement. To understand these multimodal literacy practices, the authors examined students’ journeys, sonically as passengers in mobile and adult-constructed space. Design/methodology/approach As a qualitative study, the authors used ethnographic methods for data collection. Additionally, the authors used a design-based research approach to work alongside students to capture and interpret sound levels on the bus. Findings Findings

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Bonniol, Marie-Pierre. "Sonic Youth, du style au geste ou la prétention esthétique d’un groupe de rock." Volume !, no. 1 : 1 (May 15, 2002): 61–79. http://dx.doi.org/10.4000/volume.2509.

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de kloet, jeroen. "popular music and youth in urban china: the dakou generation." China Quarterly 183 (September 2005): 609–26. http://dx.doi.org/10.1017/s030574100500038x.

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the import of illegal, cut cds from the west (dakou cds) in the mid-1990s marked the revitalization of chinese rock culture. this article analyses the rise of dakou culture in the context of the interrelated processes of globalization and marketization of chinese culture. contrary to accounts that proclaim the crisis or death of chinese rock, this article describes the re-emergence of rock since the mid-1990s. it presents an overview on three different scenes, part of the dakou culture among chinese youth. the fashionable bands are inspired by a cosmopolitan aspiration, the underground bands s

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Roy, Anjali Gera. "Black beats with a Punjabi twist." Popular Music 32, no. 2 (2013): 241–57. http://dx.doi.org/10.1017/s0261143013000111.

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AbstractThe bonding between black and brown immigrants in Britain has resulted in the emergence of a new musical genre called Bhangra, which hybridises Punjabi dhol rhythms with those of reggae, rap and hip hop. Bhangra's appropriation of Black sounds that are considered ‘Kool’ in the West has not only given Asian youth a new, distinctive voice in the form of ‘Asian dance music’ but has also led to the reinvention of Punjabi folk tradition in consonance with the lived realities of multicultural Britain. This essay examines various aspects of sonic hybridisation in ‘the diaspora space’ by Briti

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Stasik, Michael. "REAL LOVE VERSUS REAL LIFE: YOUTH, MUSIC AND UTOPIA IN FREETOWN, SIERRA LEONE." Africa 86, no. 2 (2016): 215–36. http://dx.doi.org/10.1017/s0001972016000024.

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ABSTRACTThe most popular music among youths in Sierra Leone's capital Freetown is music dealing with love. While the music, which is mainly of foreign origin, evokes idealized images of ‘real love’, the real-life relationships of its young audiences are characterized by chronic states of emotional uncertainty and dissatisfaction. Economic disparities lead to an increasing monetization of young people's relationships, driving them either into a fragile flux of multiple partners or out of intimate engagements altogether. Taking this ‘dissonance’ between sonic representations and social relations

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Wright, Anthony Gerard, and Jurhamuti José Velázquez Morales. "“Where Your Voice Burns Like Fire”: Visual art and radio broadcasting as semiotic practices of intergenerational political socialization among the Purépecha of Cherán, México." Global Studies of Childhood 11, no. 2 (2021): 179–94. http://dx.doi.org/10.1177/20436106211008647.

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This article analyzes visual art and radio broadcasting as semiotic practices that serve as crucial sites of child and youth participation in Indigenous social movements. Looking specifically at a movement against organized crime, political corruption, and environmental exploitation that emerged in 2011 among the Purépechan people of Cherán, Michoacán, México, we show how young people’s creative practices present a significant challenge to hegemonic models of adult- directed political socialization and participation, although they do not result in a total flattening of age-based hierarchies. D

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Dissertations / Theses on the topic "Sonic Youth"

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Kloet, Bastiaan Jeroen de. "Red sonic trajectories popular music and youth in urban China /." [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2001. http://dare.uva.nl/document/60537.

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Scott, Emily. "Avant-garde across a Century: Erik Satie and Sonic Youth." Honors in the Major Thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/996.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Humanities<br>Music

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Frappier, Daniel. "Ici rien n'est silencieux : reconfigurations de l'audible sous le régime esthétique des arts." Thèse, 2016. http://hdl.handle.net/1866/18744.

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Rédigé sous la direction de Michèle Garneau, le mémoire porte sur l’intégration du bruit en musique, de la révolution romantique au noise rock, pensée à travers la notion de « régime esthétique » théorisée par Jacques Rancière : mode d’expérience particulier selon lequel la pensée occidentale identifierait, depuis environ deux siècles, ce qui fait ou non oeuvre d’art. En opposition avec la poétique aristotélicienne et ses solides hiérarchies, qui façonnent le goût dominant de l’Antiquité aux Lumières, le nouveau paradigme reposerait sur la réconciliation des contraires : le noble et le v

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Books on the topic "Sonic Youth"

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Foege, Alec. Confusion is next: The Sonic Youth story. Quartet, 1995.

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Confusion is next: The Sonic Youth story. St. Martin's Press, 1994.

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3

Browne, David. Goodbye 20th century: A biography of Sonic Youth. Da Capo, 2008.

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4

Daydream nation. Continuum, 2007.

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JRNLS80s: Poems, lyrics, letters, observations, wordplay & postcards from the early days of Sonic Youth. Soft Skull Press, 1998.

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Sonic Youth. Camion Blanc, 2000.

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7

Lemire, Jeff. Royal City: Sonic youth. 2018.

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Sonic Youth Etc Sensational Fix. Walther Konig, Cologne, 2009.

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9

1972-, Wild Peter, ed. Noise: Fiction inspired by Sonic Youth. Harper Perennial, 2009.

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Chick, Stevie. Psychic Confusion: The Sonic Youth Story. Omnibus Press, 2009.

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Book chapters on the topic "Sonic Youth"

1

Varney, Denise, Peter Eckersall, Chris Hudson, and Barbara Hatley. "‘Youth is not the only thing that passes at sonic speed’: Speed and Private Lives in Okada Toshiki’s The Sonic Life of a Giant Tortoise." In Theatre and Performance in the Asia-Pacific. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137367891_8.

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"SONIC YOUTH, SONIC SPACE:." In From a Nation Torn. Duke University Press, 2014. http://dx.doi.org/10.2307/j.ctv1220kjn.8.

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"Sonic Youth, Sonic Space." In From a Nation Torn. Duke University Press, 2014. http://dx.doi.org/10.1215/9780822395959-004.

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"3. Sonic Youth, Sonic Space: Isidore Isou and the Lettrist Acoustics of Deterritorialization." In From a Nation Torn. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822395959-006.

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"Worlds of Sparkling Lights: Popular Music and Youth Cultures in Solo, Central Java." In Sonic Modernities in the Malay World. BRILL, 2014. http://dx.doi.org/10.1163/9789004261778_008.

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Peters, Margaret. "Risky Economies: Community-Based Organizations and the Music-Making Practices of Marginalized Youth." In Sonic Synergies: Music, Technology, Community, Identity. Routledge, 2017. http://dx.doi.org/10.4324/9781315087825-17.

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"Goodbye 20th Century Sonic Youth, John Cage’s ‘Number Pieces’ and the Long Farewell to the Avant-Garde." In The Metareferential Turn in Contemporary Arts and Media. Brill | Rodopi, 2011. http://dx.doi.org/10.1163/9789401200691_022.

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Hansen, Thomas Blom. "Movement, Sound, and Body in the Postapartheid City." In Melancholia of Freedom. Princeton University Press, 2012. http://dx.doi.org/10.23943/princeton/9780691152950.003.0006.

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This chapter focuses on the rise of new forms of cultural mobility in the postapartheid city, particularly, the rise of the kombi taxi and its massive sound system as the most striking innovation in the urban landscape. While the private taxi industry has been at the center of much violence and criminal networks, it has also been important in providing new forms of agile physical mobility across the fixed boundaries in the city. More importantly, the taxis have also been the vehicles and symbols of a new type of music and youth culture that begins to cut across boundaries of class and race. The chapter explores the particular form of taxi industry in Chatsworth and looks at the wider phenomenon of the new sonic taste alliances forged by kwaito and other forms of urban music after apartheid.

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Boffone, Trevor. "Introduction." In Renegades. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197577677.003.0001.

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The Introduction begins with an overview of the Renegade dance’s popularity and the major players who made the dance challenge go viral—namely, TikTok sensation Charli D’Amelio who is the app’s most-followed account, and Georgia teen Jalaiah Harmon who created the dance but wasn’t given any credit for it until the Dubsmash community mobilized around her. The story of the Renegade dance challenge, D’Amelio, and Harmon serves as an entry point into a conversation about the teen artists of color in this book, whom the book labels “Renegades.” Riffing off the viral “Renegade” dance to K-Camp’s “Lottery,” the book reappropriates the term to embody the nuanced ways that Dubsmash users, or self-professed Dubsmashers, use digital hip hop culture and platforms to push again the pervasive Whiteness in mainstream US pop culture, as evidenced on apps such as TikTok. Renegades take up visual and sonic space on social media apps to self-fashion identity, form supportive digital communities, and exert agency to take up space that is often denied to them in other facets of their lives. The Introduction continues with a review of extant literature in social media and youth identity formation, with a particular focus on how Black teens engage with digital spaces. From there, it lays the groundwork for a theory of “Renegades.”

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Jiménez García, Marilisa. "The Letter of the Day is Ñ." In Side by Side. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832474.003.0005.

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This chapter presents the case of Sesame Street and its frank, cutting-edge performance of bilingual culture on children’s television for over 50 years, mainly through its creation of the lovable, instructional, Spanglish speaker “Maria,” conceived by show producers as a representation of urban Puerto Ricans. Sesame Street and children’s television, at this moment in the study, help to consider some of the limitations of youth literature, particularly when it comes to expressing bilingual culture, as opposed to television, a performance-based media. This is the only chapter-length study of Sonia Manzano’s performance and writing on the show as Maria for over 40 years, one of the first Latinas on a major US television show.

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