Relevant bibliographies by topics / White Power music

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

Academic literature on the topic 'White Power music'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "White Power music"

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Futrell, Robert, Pete Simi, and Simon Gottschalk. "Understanding Music in Movements: The White Power Music Scene." Sociological Quarterly 47, no. 2 (May 2006): 275–304. http://dx.doi.org/10.1111/j.1533-8525.2006.00046.x.

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Hopkinson, Natalie. "Fluorescent Flags: Black Power, Publicity, and Counternarratives in Go-Go Street Posters in the 1980s." Communication, Culture and Critique 13, no. 3 (May 23, 2020): 275–94. http://dx.doi.org/10.1093/ccc/tcz058.

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Abstract This semiotic landscape analysis probes urban patterns of racial placement and displacement through an archive of music publicity posters. The music poster archive is a site to map the so-called “Chocolate City” of Washington, D.C., in the 1980s, explore its calendars, rhythms, textures, communication technology, history and movements of segregated black life. These posters advertising go-go music, the city's indigenous black popular music, asserted a territory of black economic, cultural and political power. They resisted the narrative of a sanitized “White City” designed for white tourists. The city's cultural entrepreneurs challenged false dominant narratives and public policies that marginalized black urban culture as dangerous and deviant. A crack-down on postering in the late 1990s was an early harbinger of gentrification.
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Alsop, Christiane. "Book Review: Reichsrock: The International Web of White-Power and Neo-Nazi Hate Music." Genocide Studies and Prevention 11, no. 3 (March 2018): 131–33. http://dx.doi.org/10.5038/1911-9933.11.3.1548.

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Ogata, Shigeki. "Human Eeg Responses to Classical Music and Simulated White Noise: Effects of a Musical Loudness Component on Consciousness." Perceptual and Motor Skills 80, no. 3 (June 1995): 779–90. http://dx.doi.org/10.2466/pms.1995.80.3.779.

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The main purpose of the present study was to investigate the psychophysiological effects of music on human EEG. For this purpose, a sound modulator was developed which simulates the sound-pressure variations of a given piece of music by white noise (sim-music). Using this apparatus, the author tested the psychophysiological effects of music on human EEG. The electroencephalograms (EEG), electrocardiograms (ECG), and electrooculograms (EOG) of eight normal volunteers were recorded for a total of 21 min., 5 sec. per session for each subject under three sound conditions: silence for 5 min., two types of music (music) or two types of simulated noise (sim-music) for 11 min., 5 sec., followed by silence for another 5 min. Each subject was exposed to a total of 10 music and 10 sim-music conditions. At the low consciousness level (drowsiness, Stage S1), higher delta component power densities were observed with sim-music than with music. Thus, even in the same Stage S1, entire physiological consciousness levels may be higher when listening to music than to sim-music. While listening to music, many subjects reported that they felt pleasantly relaxed or comfortable. However, with the sim-music, they reported feeling unpleasantly weary and sleepy. It seems that the mental set toward two sound conditions differed greatly for many subjects. In Stage S1, the differences in EEG slow components showed that the differences in consciousness had a physiological aspect and indicated differences in mental set toward both sound conditions and mental activity during the listening conditions.
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Shpenkov, O., S. Tukaiev, and I. Zyma. "EEG gamma-band spectral power changes during listening to the rock-music with reduced low-frequency level." Bulletin of Taras Shevchenko National University of Kyiv. Series: Biology 75, no. 1 (2018): 27–32. http://dx.doi.org/10.17721/1728_2748.2018.75.27-32.

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Among musicians, it is well known that depending on signals level of certain frequencies music can elicit different emotions and affect on its strength. Aim: In this study we investigate influence of low-frequency component in rock-music on emotional experience. Methods: 30 volunteers participated in this study. Four stimuli were presented: white noise, song of birds, instrumental rock-composition and rock-composition with reduced low-frequency level. EEGs were recorded during listening to the sounds and music. Results: During listening to the sounds and music the most significant EEG changes were observed mainly in beta and gamma-bands, which related to emotional and cognitive processes. There was general activation in gamma-band during listening to the rock-composition with normal frequency range, as well as during white noise session. Whereas there was increase of SP in gamma-band only in left posterior areas and in right frontal area during listening to the rock-composition with reduced low-frequency signal level. Conclusions: Lesser activation in gamma-band during listening to the second rockcomposition related to the lower level of emotional activation.
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Luke, Timothy W. "Overtures for the Triumph of the Tweet: White Power Music and the Alt-Right in 2016." New Political Science 39, no. 2 (April 3, 2017): 277–82. http://dx.doi.org/10.1080/07393148.2017.1301323.

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Martin, Toby. "Dougie Young and political resistance in early Aboriginal country music." Popular Music 38, no. 03 (October 2019): 538–59. http://dx.doi.org/10.1017/s0261143019000291.

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AbstractCountry music has a reputation for being the music of the American white working-class South and being closely aligned with conservative politics. However, country music has also been played by non-white minorities and has been a vivid way of expressing progressive political views. In the hands of the Indigenous peoples of Australia, country music has often given voice to a form of life-writing that critiques colonial power. The songs of Dougie Young, dating from the late 1950s, provide one of the earliest and most expressive examples of this use of country music. Young's songs were a type of social-realist satire and to be fully understood should be placed within the broader socio-political context of 1950s and 1960s Australia. Young's legacy was also important for Aboriginal musicians in the 1990s and the accompanying reassessment of Australia's colonial past. Country music has provided particular opportunities for minority and Indigenous groups seeking to use popular culture to tell their stories. This use of country music provides a new dimension to more conventional understandings of its political role.
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Singh, Roopa Bala. "Yoga’s Entry Into American Popular Music Is Racialized (1941–67)." Resonance 1, no. 2 (2020): 132–62. http://dx.doi.org/10.1525/res.2020.1.2.132.

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This study unearths 20th-century U.S. music histories to demonstrate that racism accompanied the entry of yoga into American “belonging” and domestication, while “Indians” were excluded. There are three yoga song sites in this study; each presents a composite of racial constructions that utilize Othering tropes long deployed to affirm White supremacy and legitimize colonial power. I analyze the sound world, lyrics, and films of (1) the 1941 popular song “The Yogi Who Lost His Will Power,” by Orrin Tucker and His Orchestra; (2) the 1960 chart-topper “Yogi,” which catapulted the Ivy Three to one-hit-wonder status; and, (3) the 1967 Elvis Presley song “Yoga Is as Yoga Does, ” from the movie Easy Come, Easy Go. Questions that guide this study include: How does racist displacement appear in historic contexts of sonic productions and U.S. proliferation in yoga? What racial stereotypes accompanied yoga’s entry into American cultural discourse? I argue the evidence supports three key findings: (1) yoga’s movement into American popular culture is inextricably tied to racism and Othering; (2) widely circulating stereotypes of Indians, yoga, and yogis in American popular music include classic racist tropes, such as the grinning Sambo, and (3) the logic of elimination operates to hide U.S. music histories of racialized yoga. I conclude that U.S. yoga and its musical and cultural productions, branded as peaceful and flexible, camouflage the settler nation and White supremacy. The article concludes with a forecast for the importance of music studies to the nascent field of critical yoga studies.
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Norris, Marisol Samantha. "A Call for Radical Imagining: Exploring Anti-Blackness in the Music Therapy Profession." Voices: A World Forum for Music Therapy 20, no. 3 (October 30, 2020): 6. http://dx.doi.org/10.15845/voices.v20i3.3167.

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This spotlight presentation explores the relationship between anti-Black violence and music therapy. Centering the recent deaths of Ahmaud Arbery, Breonna Taylor, Sean Reed, George Floyd, and Tony McDade, the speaker discusses protests taking place in the United States and throughout the world that demand justice for Black lives. In this presentation, the speaker discusses the interconnectedness of physical and social death as a continuum of oppression the field must contend with to meet social justice aims. Music therapy across the globe is situated within complex socio-political, socio-structural, socio-historical, and socio-cultural systems. It holds the vestiges of White European settler colonialism and is founded upon dominant cultural values and ideals that support its existence and simultaneously benefit and harm client communities. While, as a professional body, we aim to deepen music therapy access and conceptualize empowerment from a social justice frame, we must explore the various ways music therapy leverages proximations of power. Any calls for access and empowerment in music therapy amplify our existence within unjust systems and our participation in their perpetuation in education, theory, research, practice, and praxis. The speaker explores anti-Blackness from a Black feminist lens and discusses the radical repositioning of music therapy as we collectively strive to meet social justice aims.
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Ritts, Max. "Environmentalists abide: Listening to whale music – 1965–1985." Environment and Planning D: Society and Space 35, no. 6 (June 1, 2017): 1096–114. http://dx.doi.org/10.1177/0263775817711706.

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Music can enrich geographical efforts to understand ideology as a lived experience. This paper explores the history of whale music – instrumental music that samples or thematizes whale sound. For environmentalists who came of age in the late 1960s, whale music fostered new interrogations about the identity of nature and the nature of identity, interrogations that reflected structural changes in North American society. To understand whale music’s surprising ideological power, I draw on Althusser’s formative idea of interpellation, and refine it with insights from Antonio Gramsci, John Mowitt, and Neil Smith. As examples from British Columbia’s Lower Mainland and California’s Bay Area reveal, whale music interpellated environmentalists, capturing the energies of predominantly white middle-class subjects eager to develop new relationships with nature. Whale music was not discovered, as its devotees proposed it was, but invented, through a combination of animal sounds, recording techniques, consumer trends, and ideologies of nature. It reveals environmentalism as a sonorous formation – a system that recruits listeners into sonically-mediated realms of thought, action, and subjectivity.
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Dissertations / Theses on the topic "White Power music"

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Corte, Ugo. "Subcultures and Small Groups : A Social Movement Theory Approach." Doctoral thesis, Uppsala universitet, Sociologiska institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-172988.

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This dissertation uses social movement theory to analyze the emergence, activities and development of subcultures and small groups. The manuscript is comprised of an Introduction followed by three journal articles and one book chapter.  The introduction discusses: 1) the concept of theoretical extension whereby a theory developed for one purpose is adapted to another; 2) it identifies the social movement theories used to analyze subcultures and small groups; 3) it describes the data used in the analyses included here. The data for this work derives from two distinct research projects conducted by the author between 2002 and 2012 and relies on multiple sources of qualitative data. Data collection techniques used include fieldwork, archival research, and secondary data. Paper I uses resource mobilization (RM) theory to analyze the origin, development, and function of White Power music in relation to the broader White Power Movement (WPM). The research identifies three roles played by White Power music: (1) recruit new adherents, (2) frame issues and ideology for the construction of collective identity, (3) obtain financial resources. Paper II gives an overview of the subculture of Freestyle BMX, discussing its origins and developments—both internationally as a wider subcultural phenomenon, and locally, through a three-year ethnographic case study of a subcultural BMX scene known as “Pro Town USA.” Paper III conceptualizes BMX as a social movement using RM theory to identify and explain three different forms of commercialization within this lifestyle sport in “Pro Town.” The work sheds light on the complex process of commercialization within lifestyle sports by identifying three distinct forms of commercialization: paraphernalia, movement, and mass market, and analyses different impacts that each had on the on the development of the local scene.  Findings reveal that lifestyle-sport insiders actively collaborate in each form of commercialization, especially movement commercialization which has the potential to build alternative lifestyle-sport institutions and resist adverse commercial influences. Paper IV refines the small group theory of collaborative circles by: (1) further clarifying its concepts and relationships, (2) integrating the concepts of flow and idioculture, and (3) introducing a more nuanced concept of resources from RM. The paper concludes by demonstrating that circle development was aided by specific locational, human, moral, and material resources as well as by complementary social-psychological characteristics of its members.
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Books on the topic "White Power music"

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Napier-Bell, Simon. Black vinyl, white powder. London: Ebury, 2001.

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Listen, whitey!: The sights and sounds of Black power, 1965-1975. Seattle, Wash: Fantagraphics, 2012.

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Love, Nancy S. Trendy Fascism: White Power Music and the Future of Democracy. State University of New York Press, 2017.

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Reichsrock : the international web of white-power and Neo-Nazi hate music. Rutgers University Press, 2017.

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Reichsrock: The International Web of White-Power and Neo-Nazi Hate Music. Rutgers University Press, 2016.

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Black Vinyl, White Powder. EBURY PRESS (RAND), 2002.

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Publishers, Vintage. Notebook Hippie Peace Love White: Dot Dotted Grid Funny Diary Journal 60er 70er Lover School Gift for Men & Women Woodstock Rock'n'roll Music Festival Flower Power Positive Vibes Retro Vintage. Independently Published, 2019.

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Lines, David. “While My Guitar Gently Weeps”. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.22.

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The popularity of guitar has ensured that it has become a significant aspect of music in leisure. This chapter explores and reflects on the author’s personal leisure guitar experiences through six autoethnographic meditations. Themes from the meditations include tacit experiences, closeness, community, curiosity, and ethical dimensions associated with leisure guitar culture. These themes suggest an embodied view of music and a social connectedness with a living music culture. Using a Foucaultian lens, these themes are critically positioned alongside the experience of the neoliberal, schooled musical subject, who encounters expressions of power and subjectification in narrow, limiting terms. The chapter concludes by suggesting that the reflective process of autoethnography, an awareness and sensitivity of the body, and explorations of emergent subject positions are critical for a reconstituted music education and that leisure and music education can be envisaged together as synchronic forms of musical action.
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Good booty: Love and sex, black & white, body and soul in American music / Ann Powers. 2017.

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Cohen, Mary L., and Jennie Henley. Music-Making Behind Bars. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.11.

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Approaches to incarceration and community music vary widely. This chapter examines music-making in US and UK prison contexts, suggesting new insights into the values, applications, and meanings of community music. Contrasting approaches towards imprisonment exist not only across the globe, but also within particular countries. In the United States, a wide range of practices within the contexts of imprisonment occur, such as differences in incarceration rates between whites and people of color, sentence lengths, use of capital punishment, voting rights, and quality of legal representation. Inmates’ opportunities for self-expression are restricted. Research and practice in music-making in prisons suggest that community music approaches within prisons provide a means towards desistance, improved self-esteem, social support and a sense of accomplishment. Music-making within the complex power dynamics of prison contexts emphasizes the importance of the welcome and hospitality within our understanding of community music.
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Book chapters on the topic "White Power music"

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Vaugeois, Lise C. "White Subjectivities, the Arts, and Power in Colonial Canada: Classical Music as White Property." In The Palgrave Handbook of Race and the Arts in Education, 45–67. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-65256-6_3.

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Kallio, Alexis Anja. "Doing Dirty Work: Listening for Ignorance Among the Ruins of Reflexivity in Music Education Research." In The Politics of Diversity in Music Education, 53–67. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_5.

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AbstractRecent research in music education has emphasized the importance of reflexive approaches in unsettling the concept of a neutral, objective researcher and critically considered the ways in which cultural others are represented in research texts. Seen to enhance both the rigor and ethical dimensions of research practice, reflexivity has emerged as a hegemonic virtue, highlighting the inherently political aspects of research practice. In this chapter, I interrogate the politics of inquiry involved in reflexive research, considering the ways in which reflexivity may afford the researcher methodological power and hinder relational and responsible work. Reflexivity is thus positioned as a ruin: perpetually reaffirming the benevolence of the already-privileged researcher while doing little to disrupt the structures that keep such privileges at the center of academic practice. However, rather than abandoning such practices altogether, I suggest that reflexivity might be better considered as a way to listen for ignorance and direct attention toward ontological or epistemological difference. In this way, reflexivity serves as an invitation to engage in the politics of diversity through the transformation of researchers themselves.
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"1. What Is White-Power Music?" In Reichsrock, 1–12. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813574738-002.

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"Inside the extreme right: the ‘White Power’ music scene." In Varieties of Right-Wing Extremism in Europe, 263–78. Routledge, 2013. http://dx.doi.org/10.4324/9780203080467-25.

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"2. The History Of White-Power Music In Britain." In Reichsrock, 13–33. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813574738-003.

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"5. The History Of White-Power Music Outside Europe." In Reichsrock, 104–44. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813574738-006.

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"White Power, Black Metal and Me: Reflections on Composing the Nation." In Heavy Fundametalisms: Music, metal and Politics, 43–53. BRILL, 2010. http://dx.doi.org/10.1163/9781848880177_006.

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"4. The History Of White-Power Music In Eastern Europe." In Reichsrock, 76–103. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813574738-005.

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"3. The History Of White-Power Music In Continental Western Europe." In Reichsrock, 34–75. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813574738-004.

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Rapport, Evan. "“Raw Power”: Protopunk Transformations of the Blues." In Damaged, 35–62. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831217.003.0002.

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Punk’s musical style can be considered as beginning with the transformations to blues resources explored mostly by white baby boomers invested in the sixties counterculture, especially in the northern Midwest, such as the Stooges and the MC5. Their approaches to the blues were a response to the changing stakes of musical expressions of whiteness and Blackness during the 1960s, connected to the social upheaval surrounding so-called white flight to the suburbs and the Second Great Migration of African Americans from the South. Some similar approaches to the blues were also cultivated in New York among musicians such as the Velvet Underground. Their music emphasized riffs, limited harmonic movement, and other features which are described in this chapter as the “Raw Power” approach to punk. But despite punk’s deep musical roots in the blues, the discourse around punk served to obscure these connections.
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Conference papers on the topic "White Power music"

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Kersalé, Patrick. "At the Origin of the Khmer Melodic Percussion Ensembles or “From Spoken to Gestured Language”." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-5.

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Frescoes representing melodic percussion orchestras have recently appeared in the central sanctuary of the Angkor Wat temple. They prefigure two orchestras existing today in Cambodia: the pin peat and the kantoam ming. These two ensembles are respectively related to Theravada Buddhism ceremonies and funerary rituals in the Siem Reap area. They represent a revolution in the field of music because of their acoustic richness and their sound power, supplanting the old Angkorian string orchestras. This project analyzes in detail the composition of the fresco sets and establishes a link with the structure of Khmer melodic percussion orchestras. The analysis of some graphic details, related to other frescoes and bas-reliefs of Angkor Wat, also makes it possible to propose a dating. The study embodies one of an anthropological ethnomusicology, while also incorporating a discourse analysis, so to frame the uncovering of new historiographers of music and instrumentation, so to re describe musical discourses, more so to shed new light on melodic percussion of Angkorian music.
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