Relevant bibliographies by topics / Steelbands

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Steelbands'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Steelbands"

1

Haskett, Brandon L. "Media Review: Steel Drums and Steelbands: A History." Journal of Historical Research in Music Education 35, no. 2 (2014): 158–60. http://dx.doi.org/10.1177/153660061403500207.

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Helmlinger, Aurélie. "Pourquoi faire simple quand on peut faire compliqué ?" Anthropologie et Sociétés 38, no. 1 (2014): 139–66. http://dx.doi.org/10.7202/1025812ar.

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Comment un instrument de musique à l’ergonomie aussi difficile que le double tenor pan a-t-il pu se diffuser aussi largement dans les steelbands, ces orchestres de métallophones de Trinidad et Tobago, alors que l’évolution topologique des autres instruments tendait au contraire vers la rationalisation ? On tentera d’abord de comprendre ce qui rend cet instrument cognitivement si coûteux, puis on analysera ce qui a fait son succès. On verra notamment que le parcours de son concepteur, Bertie Marshall, est essentiel dans la construction des représentations à son égard.
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Helmlinger, Aurélie. "Les steelbands de Trinidad et Tobago : Ethnomusicologie cognitive d’une mémoire d’orchestre." Intellectica. Revue de l'Association pour la Recherche Cognitive 48, no. 1 (2008): 81–101. http://dx.doi.org/10.3406/intel.2008.1241.

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Montagnani, Tommaso. "Aurélie Helmlinger. Pan Jumbie. Mémoire sociale et musicale dans les steelbands (Trinidad et Tobago)." Gradhiva, no. 17 (May 16, 2013): 220–21. http://dx.doi.org/10.4000/gradhiva.2685.

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Helmlinger, Aurélie. "Geste individuel, mémoire collective: Le jeu du pan dans les steelbands de Trinidad & Tobago." Cahiers de musiques traditionnelles 14 (2001): 181. http://dx.doi.org/10.2307/40240408.

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Helmlinger, Aurélie. "Mémoire et jeu d'ensemble La mémorisation du répertoire musical dans les steelbands de Trinidad et Tobago." Cahiers de musiques traditionnelles 19 (2006): 307. http://dx.doi.org/10.2307/40240662.

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Malm, Krister. "Steel Drums and Steelbands. A History. By Angela Smith. The Scarecrow Press, 2012. xvii + 209 pp. ISBN 978-0-8108-8342-0." Popular Music 32, no. 2 (2013): 324–26. http://dx.doi.org/10.1017/s0261143013000172.

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Hill, Donald R. "Angela Smith, Steel Drums and Steelbands: A History. Lanham MD: Scarecrow Press, 2012. xiv + 209 pp. (Cloth US$65.00, Kindle US$51.54)." New West Indian Guide 88, no. 3-4 (2014): 431–33. http://dx.doi.org/10.1163/22134360-08803054.

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Alexis, Clifford, Allan O’Connor, and Liam Teague. "Music of the steelband." Journal of the Acoustical Society of America 98, no. 5 (1995): 2975. http://dx.doi.org/10.1121/1.413932.

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Juman, Solaiman, Collin S. Karmody, and Donald Simeon. "Hearing Loss in Steelband Musicians." Otolaryngology–Head and Neck Surgery 131, no. 4 (2004): 461–65. http://dx.doi.org/10.1016/j.otohns.2003.12.023.

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Dissertations / Theses on the topic "Steelbands"

1

Verba, Daniel. "Enquête cinématographique sur les Steelbands de Trinidad : histoire, sociologie et cinématographie des Steelbands." Paris 10, 1989. http://www.theses.fr/1989PA100033.

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Trinidad et Tobago, les îles les plus méridionales des Caraïbes, présentent l'originalité d'avoir constitué leur identité culturelle autour d'un phénomène musical sans équivalent : les steelbands. Immenses orchestres comprenant plus de 350 instruments appelés "pan" ceux-ci sont, à partir de vulgaires bidons de pétrole, transformes en d'admirables percussions mélodiques. Ce travail sociologique, accompagne d'un fils 35mm en dolby stéréo, montre les pratiques de ces musiciens durant le carnaval annuel, et les conditions sociales de leur émergence historique. Cette approche est complétée par une
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Helmlinger, Aurélie. "Mémoire et jeu d'ensemble : la mémorisation du répertoire musical dans les steelbands de Trinidad et Tobago." Paris 10, 2005. http://www.theses.fr/2005PA100135.

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Cette recherche traite de la mémoire musicale dans la compétition de steelbands du Panorama, qui rassemble des orchestres d'une centaine de personnes à la saison du carnaval. Elle cherche à expliquer comment des musiciens saisonniers, qui -jouent environ un mois par an, et parfois des débutants, sont capables de mémoriser et d'exécuter par coeur une pièce de type symphonique, avec de nombreuses contraintes techniques et à un tempo extrêmement rapide. La première partie expose le contexte ethnographique des steelbands, en analysant leur musique en relation avec le système social bipolaire carac
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Olsen, Kristofer W. "Molten Steel: The Sound Traffic of the Steelpan." Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1462448819.

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Moses, Lennard V. "A cultural analysis of Afro-Caribbean rhythm, strumming, and movement for the North American school steelband." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228186937.

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Ziegler, Aaron Michael. "Challenging the Trinidad and Tobago panorama construct: an analysis of compositional styles of Ray Holman, Liam Teague, and Andy Narell." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1816.

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At the first Panorama in 1963, Anthony "Tony" Williams presented an arrangement of Slinger "Mighty Sparrow" Francisco's "Dan Is The Man (In The Van)" that would set the standard for Panoramas to come. As the competition continued arrangers like Bobby Mohammed, Earl Rodney, Jit Samaroo, and many others continued to present new ideas and techniques that became part of what is known as the "Panorama formula." In its current configuration the Panorama formula can be seen as an amalgamation of techniques introduced by past arrangers, but some argue that the formula has become too predictable and th
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Remy, Jeannine Irene. "A historical background of Trinidad and Panorama competitions with an analysis of Ray Holman's 1989 Panorama arrangement of "Life's Too Short"." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185401.

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This document is directed toward those who have little knowledge about Trinidad, its people, the Carnival activities, and the Panorama competition. This research work should help summarize the evolution of steel drums while providing a transcription of a Panorama score for further scholarly study. The first part of this lecture document includes a brief history and evolution of Trinidad, its people, and musical developments through Carnival. The second portion reports and discusses field research with the Trintoc Invaders in preparation for the 1989 and 1990 Panorama competitions. The third pa
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Clarke, Claudia Lilian. "Music, politics and violence : a study of calypso and steelband from Trinidad, reggae from Jamaica and their impact on a multi-ethnic community in London in the late 20th century." Thesis, Goldsmiths College (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324634.

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""White College Boy Steelbands" in 1950s Trinidad: How Middle-Class Teenagers Helped the Steelpan Gain National Acceptance." Doctoral diss., 2011. http://hdl.handle.net/2286/R.I.14310.

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abstract: This document highlights the increased involvement of “ college boys ” or “ white college boys ” - better-educated middle-class white and light-skinned persons - in steelbands in the late 1940s and early 1950s. Following an introductory overview of the demography of Trinidad and Tobago, the history of Carnival, and the interregnum of the temporary instruments used between the ban of indigenous drums in the 1880s and the invention of the steelpan at the end of the 1930s, this document will examine the history and membership of these college boy bands, with part
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Hildebrand, Linda. "A proposal for a steelband program utilizing a discipline-based art education model." 1992. http://hdl.handle.net/1993/18565.

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Books on the topic "Steelbands"

1

Verba, Daniel. Trinidad: Carnaval, steelbands, calypso. Editions Alternatives, 1995.

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Steel drums and steelbands: A history. Scarecrow Press, 2012.

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3

Goddard, George "Sonny." Forty years in the steelbands: 1939-1979. Karia Press, 1991.

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Goddard, George. Forty years in the steelbands, 1939-1979. Karia Press, 1991.

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Pan jumbie: Mémoire sociale et musicale dans les steelbands, Trinidad et Tobago. Société d'ethnologie, 2012.

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6

Charles, Joseph. A Pan story: Paintings on the development of the steelpan. National Museum of Trinidad & Tobago, 2004.

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Maxime, Gideon. Steelband showcase. Gideon Maxime, 2002.

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Stuempfle, Stephen. The steelband movement: The forging of a national art in Trinidad and Tobago. Press University of the West Indies, 1995.

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The steelband movement: The forging of a national art in Trinidad and Tobago. University of Pennsylvania Press, 1995.

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Steelband kit book. Tiger Books, 1989.

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Book chapters on the topic "Steelbands"

1

Dudley, Shannon. "Tradition and Modernity in Trinidadian Steelband Performance." In Musical Migrations. Palgrave Macmillan US, 2003. http://dx.doi.org/10.1057/9780230107441_10.

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Quinton, Elio, Florabelle Spielmann, and Bob L. Sturm. "Exploring Trends in Trinidad Steelband Music Through Computational Ethnomusicology." In Music Technology with Swing. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-01692-0_5.

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Allen, Ray. "The Brooklyn Steelband Movement." In Jump Up! Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190656843.003.0006.

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Chapter 5 chronicles the rise of steelbands on Eastern Parkway and the establishment of WIADCA’s Brooklyn Panorama steelband competition during the 1970s and 1980s. These bands were extensions of Trinidad’s steelband movement that afforded Brooklyn’s migrants, now far from home, the opportunity to re-experience their native culture. The uptick in post-1965 Caribbean migration to Brooklyn led to the influx of skilled steelband players, arrangers, and tuners with years of experience with the Trinidad bands. The transnational flow of steel pan players and musical practices was relatively unidirectional in the early years of Brooklyn Carnival, as Trinidadian musicians, arrangers, and tuners regularly visited Brooklyn and helped shape the emerging steelband scene. New York’s complex multiethnic political landscape served as a backdrop for WIADCA’s struggle to deploy various Carnival expressions, particularly steelband and calypso music, in hopes of uniting Brooklyn’s diverse island populations under a single pan-Caribbean banner, while also encouraging greater social integration of Caribbean culture into mainstream urban society.
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Allen, Ray. "Harlem Carnival." In Jump Up! Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190656843.003.0004.

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Chapter 3 turns to the establishment of Harlem’s Dame Lorraine Carnival dances in the mid-1930s and the founding of an outdoor Carnival parade on Seventh Avenue in 1947. The importance of calypso music and the early steelbands in the parade is examined, and the music’s role in maintaining connections to Trinidad and uniting Harlem’s Caribbean migrants is considered. The first large-scale Carnival dances were those produced by the bandleader Gerald Clark, who called his events “Gala Dame Lorraine,” a reference to an early nineteenth-century female Carnival character who was always elegantly dressed. At these dances, bands came clad in themed costumes to compete for prize money. These events showed that New York’s Caribbean migrant communities were eager to support annual Carnival celebrations that combined three essential components of Trinidadian Carnival: dance orchestras, calypso song battles, and masquerade contests. Their success led to an outdoor Carnival parade up Harlem’s Seventh Avenue.
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Dudley, Shannon. "The Steelband Movement and Music." In Music from behind the Bridge. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195175479.003.0002.

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Allen, Ray. "Carnival Music in Trinidad and into the Diaspora." In Jump Up! Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190656843.003.0002.

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The first chapter offers a brief history of Carnival music in Trinidad and the emergence of diasporic Carnival celebrations in New York, London, and Toronto. The tangled transnational origins of calypso, steelband, and soca along with their development as expressions of cultural identity and resistance for Afro-Trinidadians together set the stage for the music’s migration to North America and Europe. Calypso and steelband are recognized today as Trinidad’s most distinctive contributions to the world’s musics. The traditions associated with the twentieth-century Carnival are best understood as products of musical hybridity. That is, both calypso and steelband evolved through a similar process of hybridization. This chapter provides the necessary background for understanding this music’s migration and life outside the Caribbean in Harlem and Brooklyn.
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"All Quiet on the Steelband Front." In Steelpan Ambassadors. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496812407.003.0009.

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Munro, Hope. "Pan Rising: Women and the Steelband Movement." In What She Go Do. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496807533.003.0006.

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This chapter examines the ways that women have contributed to the steelband movement in Trinidad and Tobago over the course of its history, and the roles that they are now playing as pannists, arrangers, and educators. On the surface, steel pan music seems to differ from calypso or soca in terms of performativity: as instrumental music, its conventions and practices are distinct from those of the genres of vocal music. However, the participation of women in the world of pan closely parallels their changing roles in various forms of expressive culture in Trinidad. The chapter considers the steelband movement's dramatic transformations reminiscent of those of calypso and Carnival during the 1940s and 1950s, including the rise of the Trinidad All-Steel Percussion Orchestra (TASPO) and the middle-class involvement with the movement.
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Allen, Ray. "“We Jammin’ Still”." In Jump Up! Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190656843.003.0010.

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Chapter 9 offers a brief survey of recent developments in Brooklyn Carnival and the current status of its steelband and calypso/soca scenes. A description of Labor Day Carnival 2017, marking the 50th anniversary of the celebration, serves as a final coda. Carnival had survived in the face of a multitude of financial, political, and organizational obstacles for five decades, and New York’s Caribbean community was still jamming to soca and steelband music on Labor Day weekend. Over the previous decades, the press continued to portray the event as the city’s largest outdoor celebration, cementing Brooklyn Caribbean Carnival’s stature as an iconic New York cultural attraction. But what was once participatory ritual has increasingly taken on the aura of presentational spectacle. And while the Monday-morning pre-dawn J’Ouvert celebration, continued to operate, violence had marred the occasion in recent years. Nonetheless, Carnival music in Brooklyn has managed to survive, and in some corners flourished, despite a plethora of ongoing financial and logistical challenges.
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"CHAPTER 12 EPILOGUE-THE NIU STEELBAND INTO THE FUTURE." In Steelpan in Education. Cornell University Press, 2017. http://dx.doi.org/10.1515/9781501757617-015.

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