Relevant bibliographies by topics / Soul Brothers (Musical group)

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Academic literature on the topic 'Soul Brothers (Musical group)'

Author: Grafiati
Published: 26 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Soul Brothers (Musical group)"

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Blues, Elwood. "EVERY DAY I HAVE THE BLUES." Innovation in Aging 7, Supplement_1 (2023): 533. http://dx.doi.org/10.1093/geroni/igad104.1750.

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Abstract The Blues Brothers are an American blues and soul revivalist band founded in 1978 by comedians Dan Aykroyd and John Belushi as part of a musical sketch on Saturday Night Live. Belushi and Aykroyd fronted the band, in character, respectively, as lead vocalist ’Joliet’ Jake Blues and harmonica player/vocalist Elwood Blues, donning black suits with matching fedoras and sunglasses.
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Tilley, Janette. "LEARNING FROM LAZARUS: THE SEVENTEENTH-CENTURY LUTHERAN ART OF DYING." Early Music History 28 (August 24, 2009): 139–84. http://dx.doi.org/10.1017/s0261127909000345.

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The story of the Rich Man and Lazarus is the foundation upon which German composers of the seventeenth century experimented with longer musical forms. Composers interpolate new poetic material to a higher degree than with any other scriptural story, apart from the Passion. Additions to the story range from simple funeral songs for Lazarus to elaborate contrapuntal drinking songs for the Rich Man and his five brothers. We would expect the meaning imposed on the story in musical settings to be in line with local theology and exegesis. However, a close look at musical settings reveals how much th
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Khai, Mykhailo. "Nykolaieva by Prylypchany Brothers is a Pinnacle of World Traditional Instrumentalism." Materìali do ukraïnsʹkoï etnologìï 21 (24) (November 30, 2022): 125–46. http://dx.doi.org/10.15407/mue2022.21.125.

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Instrumental perfromance of pastoral songs, especially in large-format recreational instrumental and dance activities, occupies a peculiar place among the unusual phenomena of traditional musical culture of Ukrainians alongside the ancient manifestations of musical-heroic epics – bylynas and dumas, and the renown culture of group singing – calendar and ceremonial-ritual melodies and lyrical-sub-vocal songs. In this article, on the basis of a unique Hutsul «performance» on three homogeneous instruments, where the three main functions (melody, «contra» / «second» and «bass») are executed on thre
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Chinita, Fátima. "Tapping into the senses: Corporeality and immanence in The Piano Tuner of EarthQuakes (Quay Brothers, 2005)." Empedocles: European Journal for the Philosophy of Communication 10, no. 2 (2019): 151–66. http://dx.doi.org/10.1386/ejpc_00004_1.

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Abstract In The Piano Tuner of EarthQuakes (2006), the Quay Brothers' second feature, the sensual form and the meta-artistic content are truly interweaved, and the siblings' staple animated materials become part of the theme itself. Using Michel Serres's argument in Les cinq sens (2014, whose subtitle in English is A Philosophy of Mingled Bodies), I address the relationship between the Quays intermedial animation and the way the art forms of music, painting, theatre and sculpture are used to captivate the film viewer's sensorium in the same way that some of the characters are fascinated by the
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Zbikowski, Lawrence M. "Modelling the Groove: Conceptual Structure and Popular Music." Journal of the Royal Musical Association 129, no. 2 (2004): 272–97. http://dx.doi.org/10.1093/jrma/129.2.272.

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A musical groove is most typically created by a small group of musicians working together, each contributing parts to the whole. Characterizing the knowledge behind such interactive ventures has proved to be challenging. This article attempts to characterize the knowledge basic to grooves first by concentrating on ‘the groove’ as it is practised in soul, rhythm and blues, jazz fusion and various other popular genres, and second by focusing on cognitive knowledge structures called conceptual models. It is argued that musicians rely on such structures to produce grooves, and that listeners make
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Sasser, Patricia Puckett. "Collecting Music among the Kharbintsy." Notes 80, no. 3 (2024): 429–54. http://dx.doi.org/10.1353/not.2024.a919031.

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ABSTRACT: In 1923, a young woman named Bella Tarakhovska͡ia arrived in Seattle aboard the SS President Jackson . She had sailed from Yokohama, Japan but her voyage to America had begun much further away. Born in Melitópol’ Ukraine, she had lived in East Asia, and was now on her way to join her older brothers in Detroit, Michigan. Tarakhovska͡ia (1903–1983) was not only well-traveled but also deeply musical: she carried with her two bound volumes of print and manuscript scores that she had collected for her personal use. These albums documented her own development as a musician and her awarenes
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Sumarandak, Zefanya Christofel, Luccylle M. Takalumang, and Franklin Dumasi. "ANALYSIS ON THE STRUCTURE OF TRADITIONAL DANCE MAENGKET." SoCul: International Journal of Research in Social Cultural Issues 3, no. 6 (2024): 1032–42. http://dx.doi.org/10.53682/soculijrccsscli.v3i6.8352.

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This research aims to explore the musical structure of Maengket Art, a performing arts tradition in Kaweng village, Kakas sub-district, Minahasa district. Maengket art is typically performed in harvest ceremonies as a form of expression of gratitude and joy towards God for the harvest obtained by the local community. Maengket art performances generally involve many dancers and involve both male and female dancers dancing in pairs. Maengket art is divided into three main parts, namely Maowey Kamberu, Marambak, and Lalayaan. The choice of the title of this research was based on the researcher's
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Papkova, Elena A. "Self-parody in the works of Vsevolod Ivanov." Sibirskiy filologicheskiy zhurnal, no. 1 (2022): 91–100. http://dx.doi.org/10.17223/18137083/78/7.

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The paper considers self-parody as a kind of self-reflection in the works of Vsevolod Ivanov in the 1910s-1920s. The most striking and well-known self-parody example is the image of the Chinese Shin-Bin-Wu in the adventurous novel “Iprit” that comically reinterprets one of the plot twists and the same type of character in the famous story about the Civil War “Bronepoezd 14-69”. The origins of the self-parody are not due to external reasons: the social order for the “Krasny Pinkerton,” communication between Ivanov, as a member of the “Serapionov Brothers” group, and theorists and practitioners
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Jones, Brian E. "Thursday at Miller's." Journal of Jazz Studies 14, no. 1 (2023): 120–33. http://dx.doi.org/10.14713/jjs.v14i1.218.

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At seventy-three years old, jazz trumpeter/composer/bandleader John D’earth remains a vortex of swirling energy: gigging constantly, ceaselessly composing, and tirelessly teaching. An iconic musician with a world-class reputation, D’earth is a gifted post-bop trumpeter with a fat sound, a dense knowledge of harmony, and a virtuosic sense of rhythm. D’earth is the type of player that would demand attention in any major metropolitan jazz scene, but within the small confines of the Charlottesville, Virginia jazz community, D’earth is a pillar of influence. Simply put, D’earth is the heart and sou
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Sereda, Olena. "FRYDERYK CHOPIN IN THE POETIC PERCEPTION OF KORNEL UJEJSKI." Polish Studies of Kyiv, no. 39 (2023): 449–63. http://dx.doi.org/10.17721/psk.2023.39.449-463.

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The article is devoted to the study of the relationship between music and literature, on the example of the poetry of Kornel Ujejski’s cycle “Tłumaczenia Szopena”. The “last great poet of Romanticism”, as he is often called, shared the general belief in the unity of the arts, so there is a certain group of musically oriented works in his oeuvre. It is worth noting that in the synthesis of the arts, music occupies a prominent place as the least material mediator of contact with the infinite. It enhances the aesthetics of the epic, lyrical and dramatic word, adds weight and insight to it. We can
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Books on the topic "Soul Brothers (Musical group)"

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Maluleke, Sydney Fetsie. The life and times: Soul Brothers : through the eyes of Black Moses Ngwenya. Maluks Books, 2017.

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Menck, Ric. The notorious Byrd brothers. Continuum, 2007.

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Dave, Marsh, ed. Soul Asylum. Boulevard Books, 1996.

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Cundill, Richard. The song of the soul: The authorised Martin Stephenson biography. Ardra Press, 2009.

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Knowles, Beyoncé. Soul survivors: The official autobiography of Destiny's Child. Boxtree, 2002.

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Beard, Bobbie Phelps. Sing it pretty, Willie: A daughter remembers the Phelps Brothers. [Beahivepromotions], 2007.

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Onkey, Lauren. Blackness and transatlantic Irish identity: Celtic soul brothers. Routledge, 2010.

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Williams, Otis. Temptations. Cooper Square Press, 2002.

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9

Keedle, Jayne. Jonas Brothers. Gareth Stevens Pub., 2010.

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Casey, Jo. Jonas: The essential guide. DK, 2009.

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Book chapters on the topic "Soul Brothers (Musical group)"

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"“White Brothers with No Soul”." In Feenin. Duke University Press, 2023. http://dx.doi.org/10.1215/9781478027294-007.

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The localization qua making white—a reracination rather than a deracination—of techno in Berlin and many other places in Europe consisted of numerous active processes, rather than a sleight of hand, in the early 1990s, and it went hand in hand with the extreme violence Black and other nonwhite communities experienced after the fall of the Berlin Wall in 1989 and German reunification a year later. These public forms of violence against Black and other nonwhite people in the years around reunification are now vigorously expunged from the celebratory historiographies of techno in Berlin and the f
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Smith, Jacob. "The Mills Brothers, Animators of the Unseen Stage." In Media Ventriloquism. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197563625.003.0008.

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The Mills Brothers were a vocal quartet who rose to fame in the 1930s with a distinctive vocal style that featured group harmonies, the imitation of musical instruments, and the incorporation of dramatic scenes into popular songs. That style doesn’t easily fit within the paradigm usually applied to popular singers of the radio age—the “crooners”—and instead, the Mills Brothers are best understood through reference to scholarship on puppetry, ventriloquism, and animation. The Mills Brothers provide an overlooked case study in Black transmedia stardom during the 1930s; the group’s multimedia pre
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Hill, Constance Valis. "Class Act and Challenge." In Brotherhood in Rhythm. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197523971.003.0006.

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This chapter gives a historic explication of the Nicholas Brothers’ style of jazz tap dancing that was simultaneously a class act—a precision-style dancing of impeccable execution—and a mode of call-and-response interplay in which the brothers challenged each other in playful camaraderie to “up” each other in steps. At the turn of the century, concurrent with musical comedy dance teams working in the blackface tradition, an elite group of black performers rejected the minstrel show stereotype of the grinning-and- shuffling blackface clown, insisting upon the perfection of sound, step, and mann
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Dirksen, Rebecca. "The Population’s Bacchanalia." In After the Dance, the Drums Are Heavy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190928056.003.0007.

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Some of Haiti’s most beloved musicians raised their voices to counter the antics of President Martelly and his associates. This chapter studies the carnival songs of two anti-establishment artists who captured the public’s imagination through their alternate approaches to political activism. The first is musician-comedian Matyas, around whom a protracted and preposterous storyline was constructed about his unlikely candidacy for the presidency, subsequent win, and the havoc he is able to bring about as a result of his high-powered fictitious position. Second, the roots-reggae group Brothers Po
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Decker, Todd. "Metered." In Hymns for the Fallen. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520282322.003.0010.

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Having set aside the military march, serious post-Vietnam war films have explored other strongly metrical musics. Three World War II films have turned to triple-meter, or waltz-time, themes. Band of Brothers and Flags of Our Fathers alike use tuneful waltz-time music to support a sentimental transgenerational agenda linking fathers and sons. The Thin Red Line supports the philosophical ruminations of soldiers with a group of triple-meter melodies that create a zone of quiet reflection. Twenty-first-century war films use beat-driven music to excite the audience physically and also to characteri
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Zagagi, Netta. "Comic Patterns in Sophocles’ Ichneutae." In Sophocles Revisited. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198130062.003.0010.

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Abstract Sophocles’ Ichneutae is one of a group of satyr-plays which are only loosely connected with tragedy in their themes and in their poetic atmosphere. One can safely assume that it does not constitute a direct parody of any individual tragedy —but that, after all, is one of the salient characteristics of the satyric genre. Moreover, the theme of this play itself, albeit mythological, is in its very nature and essence non-tragic. Its plot consists mainly of the story of the search for Apollo’s lost cattle, ending successfully with the exposure of the thief, the baby Hermes; but at the sam
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