Bibliografie tematiche / Funk musicians

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Letteratura scientifica selezionata sul tema "Funk musicians"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 29 gennaio 2023

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Articoli di riviste sul tema "Funk musicians"

1

Brinck, Lars. "Funk jamming in New Orleans: Musical interaction in practice and theory." International Journal of Music Education 36, no. 3 (May 19, 2018): 430–46. http://dx.doi.org/10.1177/0255761418771994.

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This article reports long-term fieldwork on jamming funk musicians’ interaction from a combined anthropological, ethnographic, and grounded theory perspective. The study draws from over 20 years of data collection through personal interviews with New Orleans funk musicians, personal experiences with jamming and second-lining, and participant observation of funk jam sessions and second line parades. Also the author’s personal funk jam teaching experiences are included. The article is in four parts to mark the historical phases in the longitudinal research process towards a theoretical, empirica
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Scott, Jonathan. "Chris Searle: Funk Brother number one." Race & Class 51, no. 2 (September 24, 2009): 33–43. http://dx.doi.org/10.1177/0306396809345575.

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The working-class pedagogy, or ‘resistance education’ of Chris Searle; his identification of linguistic colonialism; his practice of critical literacy as embracing the lives, experiences and imaginations of his students; and the massive body of work, from Stepney Words onwards, in which he has set this down, comprise an unparalleled resource for radical educationalists seeking to develop the practice — and theory — of critical literacy and working-class pedagogy. Yet, while concepts such as linguistic colonialism have been elaborated to furnish the careers of more high-profile intellectuals an
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3

Stewart, Alexander. "‘Funky Drummer’: New Orleans, James Brown and the rhythmic transformation of American popular music." Popular Music 19, no. 3 (October 2000): 293–318. http://dx.doi.org/10.1017/s0261143000000180.

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The singular style of rhythm & blues (R&B) that emerged from New Orleans in the years after World War II played an important role in the development of funk. In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from triplet or shuffle feel (12/8) to even or straight eighth notes (8/8). Many jazz historians have shown interest in the process whereby jazz musicians learned to swing (for example, the Fletcher Henderson Orchestra through Louis Armstrong's 1924 arrival in New York), but there has been little an
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4

Bachorik, Justin Pierre, Marc Bangert, Psyche Loui, Kevin Larke, Jeff Berger, Robert Rowe, and Gottfried Schlaug. "Emotion in Motion: Investigating the Time-Course of Emotional Judgments of Musical Stimuli." Music Perception 26, no. 4 (April 1, 2009): 355–64. http://dx.doi.org/10.1525/mp.2009.26.4.355.

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MUSIC ELICITS PROFOUND EMOTIONS; HOWEVER, THE time-course of these emotional responses during listening sessions is unclear. We investigated the length of time required for participants to initiate emotional responses ("integration time") to 138 musical samples from a variety of genres by monitoring their real-time continuous ratings of emotional content and arousal level of the musical excerpts (made using a joystick). On average, participants required 8.31 s (SEM = 0.10) of music before initiating emotional judgments. Additionally, we found that: 1) integration time depended on familiarity o
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Wright, Brian F. "Jaco Pastorius, the Electric Bass, and the Struggle for Jazz Credibility." Journal of Popular Music Studies 32, no. 3 (August 27, 2020): 121–38. http://dx.doi.org/10.1525/jpms.2020.32.3.121.

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This article explores Jaco Pastorius’s efforts to legitimize himself as a jazz electric bassist. Even though the instrument had existed at the margins of jazz for decades, by the 1970s it was overwhelmingly associated with rock and funk music and therefore carried with it the stigmatized connotations of outsider status. Building on the work of Bill Milkowski, Kevin Fellezs, Lawrence Wayte, and Peter Dowdall, I situate Pastorius’s career within the broader context of 1970s jazz fusion. I then analyze how he deliberately used his public persona, his virtuosic technical abilities, the atypical ti
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Wright, Brian F. "Jaco Pastorius, the Electric Bass, and the Struggle for Jazz Credibility." Journal of Popular Music Studies 32, no. 3 (August 26, 2020): 121–38. http://dx.doi.org/10.1525/jpms.2020.323009.

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Abstract (sommario):
This article explores Jaco Pastorius’s efforts to legitimize himself as a jazz electric bassist. Even though the instrument had existed at the margins of jazz for decades, by the 1970s it was overwhelmingly associated with rock and funk music and therefore carried with it the stigmatized connotations of outsider status. Building on the work of Bill Milkowski, Kevin Fellezs, Lawrence Wayte, and Peter Dowdall, I situate Pastorius’s career within the broader context of 1970s jazz fusion. I then analyze how he deliberately used his public persona, his virtuosic technical abilities, the atypical ti
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Voropaieva, Olena. "Tania Maria’s creative work in the context of trends in the development of jazz in the second half of the 20th century (on the example of the 1980s compositions)." Aspects of Historical Musicology 27, no. 27 (December 27, 2022): 57–72. http://dx.doi.org/10.34064/khnum2-27.04.

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Statement of the problem. The globalization process of modern music art constantly creates new phenomena in the research field worthy of detailed study and scientific justification. The active expansion of Jazz in different parts of the world and its interaction with the local folklore and home music production led to the formation of such phenomena as Latin Jazz that presented the world a number of outstanding performers and composers who opened up new horizons for the further development of musical art. Among unique pearls of Latin-American Jazz, the creative personality of a Brazilian perfo
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Stetsiuk, R. A. "Saxophone in jazz: aspects of paradigmatics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 177–99. http://dx.doi.org/10.34064/khnum1-53.11.

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Objectives, methodology and innovation of the study. The research aim is to identify of specifics of the saxophone “image” in light of esthetical and communicative paradigms of jazz. The paradigmatic approach to the objects of musical composition, including the art of jazz, allows reviewing the most general aspects of its development, including varietal instrumental (in particular, saxophone) stylistics. The appearance and strengthening of the position of saxophone in jazz that took place in the first decades of the 20th century heralded the general flourishing of this type of instrumental art
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McNeill, Fraser G. "MAKING MUSIC, MAKING MONEY: INFORMAL MUSICAL PRODUCTION AND PERFORMANCE IN VENDA, SOUTH AFRICA." Africa 82, no. 1 (January 19, 2012): 93–110. http://dx.doi.org/10.1017/s000197201100074x.

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ABSTRACTThis article presents an ethnographic analysis of the popular economy of informal musical production in the Venda region of South Africa. It focuses on the activities surrounding the Burnin' Shak Studio, a recording house that specializes in reggae music. Reliant on second-hand computers, pirated software, borrowed instruments, networks of trust and cycles of debt, musicians and producers in the Burnin' Shak occupy a distinctly peripheral position in South Africa's music industry. Unlike artists in the formal sphere of musical production, who sign deals with specific record labels, mus
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Fox, Christopher. "James Weeks Libro di fiamelle e ombre, EXAUDI, Wigmore Hall, London." Tempo 71, no. 282 (October 2017): 90–91. http://dx.doi.org/10.1017/s0040298217000699.

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The easiest part of running a new music group in Britain is probably the beginning. You gather some like-minded musicians, make a programme, find a venue and perform. After that it gets harder: establishing a reputation, persuading someone to fund you, negotiating with promoters, maintaining the commitment of your musicians, keeping going year after year. But EXAUDI have done much more than just keep going: they have established new standards for what an ensemble of solo voices can achieve and championed a host of spectacularly ambitious, beautiful, challenging works, both their own commission
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Tesi sul tema "Funk musicians"

1

Scannell, John School of Media Film &amp Theatre UNSW. "James Brown: apprehending a minor temporality." Awarded by:University of New South Wales. School of Media, Film and Theatre, 2006. http://handle.unsw.edu.au/1959.4/26955.

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This thesis is concerned with popular music's working of time. It takes the experience of time as crucial to the negotiation of social, political or, more simply, existential, conditions. The key example analysed is the funk style invented by legendary musician James Brown. I argue that James Brown's funk might be understood as an apprehension of a minor temporality or the musical expression of a particular form of negotiation of time by a minor culture. Precursors to this idea are found in the literature of the stream of consciousness style and, more significantly for this thesis, in the work
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Loeffler, James Benjamin. "A gilgul fun a nigun Jewish musicians in New York, 1881-1945 /." Cambridge, Mass. : Harvard College Library, 1997. http://catalog.hathitrust.org/api/volumes/oclc/37797078.html.

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Barbeau, Audrey-Kristel. "Performance anxiety inventory for musicians (PerfAIM): a new questionnaire to assess music performance anxiety in popular musicians." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104539.

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The goal of this research project was to develop and validate a new measure that establishes the extent to which highly stressful performance situations affect self-perceived levels of Music Performance Anxiety (MPA) in popular musicians. The Performance Anxiety Inventory for Musicians (PerfAIM), a self-report measure demonstrating appropriate psychometric properties, was developed. The specific objectives of this research project were to estimate the validity of the questionnaire and to assess its reliability. Content validity and face validity were established using focus groups and intervi
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Rahal, Crawford Christine. "Effects of exposure to virtual audience environments on performing musicians." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103538.

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The objective of the study was to determine if repeated exposure to a virtual reality (VR) audience environment would desensitize musicians suffering from performance anxiety when subsequently performing in front of a live audience. Sixteen university music students participated in the study. They performed in pretest and posttest concerts with live audiences. Each was assigned either to the VR condition or to a control waiting-list group. VR participants played during five weekly VR sessions, and were measured on a state anxiety inventory (SAI), heart rate and cortisol levels. Performances we
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Beaulac, Jacqueline. "Interactive multimedia composition on the World Wide Web : a solution for musicians using Java." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33270.

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This thesis attempts to gauge the strengths and limitations of the Java programming language in terms of its use in the production of multimedia compositions: in particular, the ways in which Java supports the creation of interactive, non-deterministic musical works. An original solution to the problem of multimedia design is presented: a hierarchically defined, basic, yet flexible scripting language that is interpreted using Java. This scripting language allows the user to incorporate his/her own media into a coherent and interactive form using a small set of simple keywords and basic operato
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Savard, Alexandre. "When gestures are perceived through sounds : a framework for sonification of musicians' ancillary gestures." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116051.

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This thesis presents a multimodal sonification system that combines video with sound synthesis generated from motion capture data. Such a system allows for a fast and efficient exploration of musicians' ancillary gestural data, for which sonification complements conventional videos by stressing certain details which could escape one's attention if not displayed using an appropriate representation. The main objective of this project is to provide a research tool designed for people that are not necessarily familiar with signal processing or computer sciences. This tool is capable of easily gene
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Goldman, Jonathan. "The shape of jazz education to come: How jazz musicians develop a unique voice within academia." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=92328.

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This study examined the ways in which exceptional jazz musicians develop a unique voice within academia. The perceptions of unique musicians with respect to the current call for change in jazz education was also investigated. Ten subjects, considered 'exceptional jazz musicians' with a 'unique voice', participated in a semi-structured interview to gain insight into these issues. Results revealed a consistency in responses relating to the current status of jazz education and call for change, learning experiences in jazz, and the development of a unique voice. Results indicated that (a) the jazz
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Chiasson, Rachelle A. M. "Musicians and intelligence operations, 1570-1612: politics, surveillance, and patronage in the late Tudor and early Stuart years." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=18298.

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ABSTRACT Musicians and Intelligence Operations, 1570-1612: Politics, Surveillance, and Patronage in the Late Tudor and Early Stuart Years by Rachelle C.-Taylor The problem of musicians’ involvement in intelligence operations during the late Tudor and early Stuart years has to date remained relatively unexplored. There is convincing evidence, however, that artists from different disciplines were particularly targeted for recruitment in intelligence operations, designed by Elizabeth I’s councillors, Willam Cecil, Lord Burghley and Francis Walsingham, to infiltrate and disable Catholic
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Guy, Stephen. "The nature of community in the Newfoundland rock underground /." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81493.

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Twenty-five years of independent, underground, or punk rock music-making in St. John's, Newfoundland, have been defined by geographic isolation. In tracing a historical record of the small city's punk/indie scene, this project seeks to evaluate recent academic discussion surrounding the role of collectivity in artistic 'independence' and examine the impact of prevailing international aesthetics and changing communication technologies on local practice. The self-containment and self-sufficiency of the St. John's music community, largely the product of the city's isolated position on the
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Wilson, Angela 1979. "After the riot : taking new feminist youth subcultures seriously." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81521.

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This thesis argues that in North America since the late 1980s, young women's interest in feminism has been expressed through participation in feminist music subcultures. The project provides an overview of the studies of culture, musical subculture, and gender and music making, as well as an historical context of feminism and a discussion of the relationship between second and third wave feminism.<br>The first case study explores Riot Grrrl's roots in the DIY activism of DC hardcore punk, its links to the female-oriented indie music scene of Olympia, Washington, and the subculture's use
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Libri sul tema "Funk musicians"

1

Blanchet, Philippe. Prince, un funk venu d'ailleurs. Paris: A. Michel, 1988.

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Ertl, Franz. Rap, Funk, Soul: Ein Nachschlagewerk. 2nd ed. Koln: W. Herbst, 1993.

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Mills, David. George Clinton and p-funk: An oral history. New York: Avon Books, 1998.

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James, Rick. The confessions of Rick James: Memoirs of a super freak. Phoenix: Colossus Books, 2007.

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Hit me, Fred: Recollections of a sideman. Durham: Duke University Press, 2002.

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Lost grooves: The rise and fall : soul-jazz, jazz-funk, jazz-rock-fusion. Dessau [Germany]: Wihelm Herbst Verlag, 2004.

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Bradley, Lloyd. George Clinton: The mothership connection. Edinburgh: Canongate, 2004.

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8

Sutil, Miguel A. Los hijos secretos del funk: Conversaciones con Violadores del Verso. Madrid: Fundación Autor-SGAE, 2007.

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Payne, Jim. Give the drummers some!: The great drummers of R&B, funk & soul. Katonah, NY: Face the Music Productions, 1996.

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Charles, Stephenson, ed. The beat: Go-go's fusion of funk and hip-hop. New York: Billboard, 2001.

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Capitoli di libri sul tema "Funk musicians"

1

Golding, Rosemary. "Anon., ‘The Fund for the Support of Decayed Musicians’; Anon., ‘Mara, Billington, and Catalani’; and Vetus [Richard Mackenzie Bacon], ‘On the Character of Musicians’." In Music in Nineteenth-Century Britain, 64–82. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003885-5.

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Goldschmitt, K. E. "From Fusion to Funk." In Bossa Mundo, 76–105. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190923525.003.0004.

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This chapter investigates how Brazilian musicians adjusted their approach to appealing to audiences in the United States and the United Kingdom once the Brazilian military dictatorship descended into the “Leaden Years.” Many Brazilian musicians sought to affiliate themselves with sounds that more directly linked them to the African diaspora and the Otherness of Brazilian indigeneity. Drawing on the coverage of this music in major music periodicals of the era, it shows the ways that attention to Brazilian music changed after the height of bossa nova. It features close discussions of the penetration of Brazilian musicians into the jazz fusion and funk scenes, including analyses of landmark recordings by Milton Nascimento, Sérgio Mendes, Airto Moreira, Flora Purim, and Deodato.
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Bolden, Tony. "Blue Funk." In Groove Theory, 37–84. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830524.003.0003.

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This chapter examines the development of funk as a distinct concept in black vernacular culture, and explains how blues artists, modern jazz musicians, and political attitudes during the civil rights movement combined to establish the foundation for the musical genre of funk as well as the non-conformist aesthetics and attitudes the music expressed. The central argument is therefore two-fold: that blues artists formulated the concept now known as funk, and that funk became the epistemic centerpiece of a broader cultural aesthetics in black working-class environments. As with the previous chapter, “Blue Funk: The Ugly Beauty of Stank ” foregrounds the central role of kinesthesia in blues-oriented approaches to music-making. Using insights and methods from multiple areas of scholarship, including musicology, ethnomusicology, philosophy, literary criticism, dance criticism, and art history, Bolden explains how the concept of funk and/or precepts associated with funk were not only exemplified in several black musical genres but also dancing, literature, and visual art as well. In this way, black artists working in several mediums contributed to the transformation of “funky” from a stigmatizing signification, that is, a negative, stereotypical expression into a metaphor of black cultural affirmation.
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Bolden, Tony. "Groove Theory." In Groove Theory, 11–36. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830524.003.0002.

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This chapter explains the meaning of funk as a concept and introduces readers to salient precepts and characteristics. The chief argument is that (a) the phenomenon known as the funk/spirit—or, more simply, the funk—operates as a distinct form of black vernacular epistemology, and that (b) funk comprises the secular counterpart of “the spirit”—what Albert Murray calls “paroxysms of ecstasy”—in black church worship. This sensation, which is usually generated by the interplay between motion and emotion, has been a vital aspect of the production of knowledge in music-making within African American working-class performance venues. Funk foregrounds the body and sensuality as indispensable aspects of a musician’s ability to play certain notes and to create desired timbres and soundscapes. This sort of psychosomatic epistemological modality calls into question the normative mind-body split; and, as such, it stands at variance with the prototypical notions of knowledge in the Western tradition. It points up the limits of reason, and constitutes a recognition of other ways of knowing, multiple ways of knowing. Combining musicology, literary scholarship, and elements of philosophy, the chapter examines song lyrics in conjunction with musicians’ memoirs, fiction, and interviews. In doing so, Bolden creates a philosophical approach to funk as he examines recordings by James Brown, Parliament-Funkadelic, Stevie Wonder, and others.
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Bolden, Tony. "Sly Stone and the Gospel of Funk." In Groove Theory, 85–116. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830524.003.0004.

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This chapter examines Sly Stone as an organic intellectual, that is, a poet-songwriter, imaginative thinker, and visionary artist whose band, Sly and the Family Stone, played a foundational role in creating funk music and the broader cultural aesthetic that exemplified funk. In this regard, the chapter demonstrates how Stone’s approach to music-making, which was largely determined by his extensive background in gospel, played a vital role in his construction of funk. Combining gospel, blues, jazz, and rock, the Family Stone created a new sound that not only fascinated listeners of rock and rhythm and blues but such acclaimed musicians as Miles Davis and Herbie Hancock as well. In addition, the chapter provides biographical information that contextualizes the artists’ development and illuminates the band’s aesthetic. Finally, the chapter provides key information on groundbreaking bass player Larry Graham and trumpeter Cynthia Robinson as well as detailed commentary on momentous recordings and live performances.
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Arcos, Betto, and Josh Kun. "Studio Stories." In Tide Was Always High. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520294394.003.0011.

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This chapter presents interviews with some of the prolific Latin American session musicians in Los Angeles. These include Abraham Laboriel Sr., Justo Almario, Paulinho Da Costa, Alex Acuña, Airto Moreira, Luis Conte, and Ray Yslas. Between them, they have played on thousands of recordings for some of the world's most influential and most popular artists. Their contributions—delivered through percussion, bass, saxophone, and clarinet—helped shape songs that became international hits and albums that are still studied as masterpieces of jazz, funk, rock, pop, and R &amp; B. Among musicians, they are legends, indispensable and reliable shape-shifting experts who can be counted on to play anything, produce any sound, slide into any groove, and lock into any genre.
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Case, George. "Workin’ Man Blues." In Takin' Care of Business, 54–66. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197548813.003.0005.

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While musicians such as Creedence Clearwater Revival, Grand Funk Railroad, Aerosmith, and Ted Nugent took rock ‘n’ roll back to the masses, Willie Nelson, Johnny Cash, Waylon Jennings, and Merle Haggard, were transforming the genre of country music, making the medium more original and more relevant as America’s cultural center of gravity was shifting south and west. Country now expressed its own forms of rebellion, against both the strictures of its industry and the condescension of outsiders. As country became a little bit cooler, it was inevitable that cool rock ‘n’ roll in turn would become a little bit country.
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Case, George. "Free for All." In Takin' Care of Business, 32–53. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197548813.003.0004.

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With bands like Grand Funk Railroad, Bachman-Turner Overdrive, Aerosmith, Ted Nugent, and Alice Cooper plying their trade around the stadiums and arenas of midwestern America, it was clear that a new clientele for rock ‘n’ roll had appeared and become viable. Who were the fans of these artists, and what were they getting from the music? How did the music industry cater to these fans among the populations of the heartland and the mill towns? In what ways were the musicians connecting with their public? And why did the players mean so much more to the punters than to the critics?
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Niebur, Louis. "Trouble in Paradise." In Menergy, 165–83. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197511077.003.0010.

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Michael Maletta, the megaparty pioneer, was the first person to die of an AIDS-related illness in the San Francisco dance music scene. But by the time of his death on August 4, 1982, at the age of thirty-nine, many others had been diagnosed with what was being dubbed the “gay cancer.” Within three years, HIV/AIDS would ravage the Bay’s gay community to such an extent that nothing would ever be the same. It saw the mass extermination of musicians, producers, and, indeed, the very patrons that kept the scene going. This chapter traces the responses to the emergence of HIV/AIDS in the dance music community, with clone culture serving as a scapegoat for a pathetic national response to the epidemic. It also tells the parallel story of Patrick Cowley’s final album and his hugely successful collaboration with Sylvester, “Do Ya Wanna Funk?,” before Cowley’s AIDS-related death in November 1982.
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Adolphe, Bruce. "Introduction." In The Mind's Ear, 1–10. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197576311.003.0001.

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The Introduction explains the purpose and method of the book: to improve the musical imagination through creative, fun exercises based on improvisational theater games that have been reimagined for musicians. A sense of playfulness and spontaneity is central to this approach. The primary goal of developing the mind’s ear is to improve the ability to imagine and remember music in silence and to be able to hear in the mind music that is printed on the page without the aid of instrument. It is essential to attend to the musician’s inner life, to explore emotions in relation to musical expression, rather than only emphasize the physical challenges of instrumental technique. Strengthening emotional memory as actors are trained to do, as well as deliberately exercising the imagination and the mind’s ear will lead to more meaningful performances, more personal compositions, and will enrich the listening experience. The introduction also addresses related concepts in subsections: Something to Say; On Interpretation; On Performing New Music; Hearing in Silence.
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