Bibliografie tematiche / Funk musicians – United States

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Letteratura scientifica selezionata sul tema "Funk musicians – United States"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 9 febbraio 2022

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Articoli di riviste sul tema "Funk musicians – United States"

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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Jaffré, Maxime. "Decontextualizing Arabic Music in France and in the United States." Middle East Journal of Culture and Communication 12, no. 1 (March 29, 2019): 35–67. http://dx.doi.org/10.1163/18739865-01201006.

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Abstract This paper traces the various steps of the redefinition process implemented by Arab musicians performing in France and in the United States. The assembling of Arabic music groups outside their institutional and national borders reveals new patterns and raises several questions: (1) While most Arabic countries do not share the same institutional music traditions, or the same repertoires (Arab-Andalusian vs. maqamat), how can Arabic musicians from different countries assemble outside their institutional and national borders? (2) How can we understand the heterogeneity of repertoires (sc

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WELLS, PAUL F., and SALLY K. SOMMERS SMITH. "Irish Music and Musicians in the United States: An Introduction." Journal of the Society for American Music 4, no. 4 (October 19, 2010): 395–99. http://dx.doi.org/10.1017/s1752196310000349.

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“The Irish came early and often to America,” quipped musicologist Charles Hamm in his landmark book Yesterdays: Popular Song in America. Although the largest waves of immigration occurred during the years of the potato famines in the 1840s and 1850s, the process began long before then and continues to the present day, albeit with many ebbs and flows in the stream. Today nearly 36.5 million people in the United States claim Irish ancestry.

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Koegel, John. "Mexican Musicians in California and the United States, 1910-50." California History 84, no. 1 (2006): 6–29. http://dx.doi.org/10.2307/25161856.

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Patalano, Frank. "Psychosocial Stressors and the Short Life Spans of Legendary Jazz Musicians." Perceptual and Motor Skills 90, no. 2 (April 2000): 435–36. http://dx.doi.org/10.2466/pms.2000.90.2.435.

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Mean age at death of 168 legendary jazz musicians and 100 renowned classical musicians were compared to examine whether psychosocial stressors such as severe substance abuse, haphazard working conditions, lack of acceptance of jazz as an art form in the United States, marital and family discord, and a vagabond life style may have contributed to shortened life spans for the jazz musicians. Analysis indicated that the jazz musicians died at an earlier age (57.2 yr.) than the classical musicians (73.3 yr.).

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Fryer, Paul. "Musicians as heroes: Black singers in the United States and Jamaica." New Community 13, no. 2 (September 1986): 208–13. http://dx.doi.org/10.1080/1369183x.1986.9975969.

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CRANITCH, MATT. "Paddy Cronin: Musical Influences on a Sliabh Luachra Fiddle Player in the United States." Journal of the Society for American Music 4, no. 4 (October 19, 2010): 475–89. http://dx.doi.org/10.1017/s1752196310000398.

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AbstractIn the world of Irish traditional music, Paddy Cronin from Sliabh Luachra in the southwest of Ireland is regarded as one of the tradition's exceptional fiddle players. Although his music exhibits many characteristics of the Sliabh Luachra tradition, it also has other elements and features, primarily from the Sligo style. A pupil of Pádraig O'Keeffe (the “Sliabh Luachra Fiddle Master”), Cronin emigrated to Boston in 1949 and lived there for approximately forty years. Before he left Ireland, he had been familiar with the music of the Sligo masters, such as Michael Coleman and James Morri

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Shelemay, Kay Kaufman. "Ethiopian Musical Invention in Diaspora: A Tale of Three Musicians." Diaspora: A Journal of Transnational Studies 15, no. 2-3 (March 2011): 303–20. http://dx.doi.org/10.3138/diaspora.15.2-3.303.

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This essay, based on ethnographic interviews and observation, discusses the lives and careers of three prominent Ethiopian musicians from sacred, folkloric, and popular musical domains (Moges Seyoum, Tesfaye Lemma, and Mulatu Astatke, respectively) whose individual initiatives have shaped the musical life of the Ethiopian diaspora during its formative years in the United States. These three careers provide an overview of musical activity within the Ethiopian American diaspora community since its inception and shed light on concepts of creativity as conceived both in the Ethiopian homeland and

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Symes, Colin. "A sound education: the gramophone and the classroom in the United Kingdom and the United States, 1920–1940." British Journal of Music Education 21, no. 2 (June 24, 2004): 163–78. http://dx.doi.org/10.1017/s0265051704005674.

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The advent of the gramophone transformed the cultural conditions of contemporary music, including the way it was taught. For a considerable period of time, musicians and music educators disparaged the gramophone. The members of the musical appreciation movement were more sympathetic and helped transform the gramophone's educational image during the 1920s and 1930s. They argued that the gramophone, contrary to its detractors, might stem the appeal of popular music. As is clear from the sentiments of those espousing the pedagogic uses of the gramophone – which are analysed in this paper – their

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Spears, Amy, Danelle Larson, and Sarah Minette. "Informal music-making among piano bar musicians: Implications for bridging the gap in music education." Journal of Popular Music Education 4, no. 3 (November 1, 2020): 371–88. http://dx.doi.org/10.1386/jpme_00019_1.

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Recent research in music education has sought to bridge the gap between formal music-making and informal music-making done by many musicians who may have little or no formal musical training. Piano bar musicians fall under the category of musicians who may or may not have had formal musical training but are able to perform covers of a variety of pop songs for live and interactive audiences. Many of them also play multiple instruments. Participants we observed and interviewed in this qualitative study were eight piano bar musicians from various regions of the United States. Key findings include

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Tesi sul tema "Funk musicians – United States"

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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Hubbs, Holly J. "American women saxophonists from 1870-1930 : their careers and repertoire." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1259304.

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The late nineteenth century was a time of great change for women's roles in music. Whereas in 1870, women played primarily harp or piano, by 1900 there were all-woman orchestras. During the late nineteenth century, women began to perform on instruments that were not standard for them, such as cornet, trombone, and saxophone. The achievements of early female saxophonists scarcely have been mentioned in accounts of saxophone history. This study gathers scattered and previously unpublished information about the careers and repertoire of American female saxophonists from 1870-1930 into one referen

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Gaines, Adam W. "Work of Art : the life and music of Art Farmer." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1317924.

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McCall, Sarah B. "The Musical Fallout of Political Activism: Government Investigations of Musicians in the United States, 1930-1960." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277608/.

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Government investigations into the motion picture industry are well-documented, as is the widespread blacklisting that was concurrent. Not nearly so well documented are the many investigations of musicians and musical organizations which occurred during this same period. The degree to which various musicians and musical organizations were investigated varied considerably. Some warranted only passing mention, while others were rigorously questioned in formal Congressional hearings. Hanns Eisler was deported as a result of the House Committee on Un-American Activities' (HUAC) investigation into

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Johnson, Alfred B. "Fascination machine : a study of pop music, mass mediation, and cultural iconography." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1185429.

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The mediation of popular musicians in the twentieth century results in the construction of cultural formations-mass mediated pop musician icons-that are, to various degrees, weighted down by the ideologies and concerns of those who receive them as mediated texts. In passing judgment on these cultural icons, the public engages in a massive act of reading, and in the process the icons become sites of personal and cultural signification. This study examines the nature of signification in and through mass mediated popular music icons by exploring the processes by which popular music icons are prod

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Sugg, Andrew Norman. "Tracking the trane: comparing selected improvisations of John Coltrane, Jerry Bergonzi and David Liebman : a thesis presented to the Elder Conservatorium, Adelaide University, in fulfillment of the requirements of the degree of Doctor of Philosophy." Title page, abstract and contents only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phs947.pdf.

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Includes bibliographical references (leaves 350-359). Investigates the influence of Coltrane's music on the improvising of post-Coltrane saxophonists by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece. The comparision also demonstrates how two current jazz saxophonists have drawn on the past - the legacy of Coltrane - to create innovative music in the present.

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Dawson, Lisa. "Attitudes, opinions, and beliefs of musicians serving Church of God (Anderson, Indiana) congregations within the United States regarding continuing education in music and worship arts." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1390658.

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The primary purpose of this research was to ascertain the attitudes and opinions of Church of God (Anderson, Indiana)* musicians regarding continuing education. The secondary purpose of the study was to determine the types of continuing education experiences that are needed by current church musicians who are employed by, or volunteer for Church of God congregations.An online survey was developed and made available to current musicians serving in Church of God congregations. One hundred and fourteen participants responded to the survey.The writer gathered data from participants regarding their

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Ferguson, Benny Pryor. "The Bands of the Confederacy: An Examination of the Musical and Military Contributions of the Bands and Musicians of the Confederate States of America." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc798486/.

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The purpose of this study was to investigate the bands of the armies of the Confederate States of America. This study features appendices of libraries and archives collections visited in ten states and Washington D.C., and covers all known Confederate bands. Some scholars have erroneously concluded that this indicated a lack of available primary source materials that few Confederate bands served the duration of the war. The study features appendices of libraries and archives collections visited in ten states and Washington, D.C., and covers all known Confederate bands. There were approximately

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Franklin, Serena. "Ill beats : black women rap artists and the representations of women in hip hop culture." Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/336.

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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 Sciences<br>Anthropology

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Ormsby, Verle A. "John Jacob Graas, Jr. : jazz horn performer, jazz composer, and arranger." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/560288.

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This paper is divided into two broad sections. The first section traces the life and career of John Graas through an examination of the contents of the John Graas Memorabilia and Memorial Library, which contains photo albums, newspaper clippings, records and tapes, approximately one hundred original compositions, and personal correspondence between the author and people who knew and worked with Graas.The second section is an examination and discussion of Graas's original compositions. This discussion traces Graas's compositional development and growth as an acknowledged jazz composer through t

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Libri sul tema "Funk musicians – United States"

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

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

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The great funk: Styles of the shaggy, sexy, shamless 1970s. New York: Farrar, Straus and Giroux, 2009.

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Rollins, Henry. Do I come here often. Los Angeles, Calif: 2.13.61, 1997.

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Prince: Inside the music and the masks. New York: St. Martin's Press, 2011.

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The first generation of country music stars: Biographies of 50 artists born before 1940. Jefferson, N.C: McFarland & Co., 2007.

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Greenman, Ben, and Peter Berkrot. Dig If You Will the Picture: Funk, Sex, God and Genius in the Music of Prince. Tantor Audio, 2017.

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Greenman, Ben. Dig If You Will the Picture: Funk, Sex, God and Genius in the Music of Prince. Faber & Faber, Limited, 2017.

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Dig if you will the picture: Funk, sex, God, and genius in the music of Prince. Henry Holt and Company, 2017.

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Benjaminson, Peter. Super freak: The life of Rick James. 2017.

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Capitoli di libri sul tema "Funk musicians – United States"

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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Storhoff, Timothy P. "The Politics of Cuban Music in the United States." In Harmony and Normalization, 55–80. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830876.003.0003.

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The third chapter describes the history of Cuban politics in the United States, their recent transformations, and how they have impacted musical production and interaction. The politics and musical prominence of Cuban exiles in Miami has resulted in a range of reactions to Cuban musicians in South Florida ranging from controversy to acceptance. Divisive Florida performances are contrasted with appearances by Cuban artists elsewhere in the country. The National Symphony Orchestra of Cuba’s first tour of the United States in 2012 featured a range of repertoire by Cuban artists, European romantic composers, Gershwin, and more that represented a call for increased US-Cuban musical interaction.

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"Crossing Borders Mexicana, Tejana, and Chicana Musicians in the United States and Mexico." In From Tejano to Tango, 103–31. Routledge, 2013. http://dx.doi.org/10.4324/9780203055670-12.

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"Appendix B. Musicians and Teachers of Music in the United States and Los Angeles." In Making Music in Los Angeles, 245–50. University of California Press, 2019. http://dx.doi.org/10.1525/9780520933835-019.

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"4. ‘California Dreamin’: Why Canadian Musicians Were Not ‘Helpless’ in the United States, 1965–70." In Canuck Rock, 101–20. Toronto: University of Toronto Press, 2009. http://dx.doi.org/10.3138/9781442697492-006.

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Gjerdingen, Robert O. "Social Class." In Child Composers in the Old Conservatories, 73–80. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653590.003.0006.

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Distinctions of social class were very strong in the Europe of earlier centuries. Musicians were considered to be in the lower classes of people who worked with their hands (or voices). People in these lower classes were not welcome in the new type of universities pioneered in nineteenth-century Germany. So musicians went to conservatories and the youth of the upper classes went to universities or received private academic instruction. The decline of conservatories in the United States has led to aspiring musicians attending universities instead of conservatories. In the process they receive an amateur curriculum developed originally for European dilettantes.

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Marlow, Eugene. "Beijing’s Leading Indigenous and Expat Jazz Musicians." In Jazz in China, 155–78. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817990.003.0014.

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This chapter focuses on jazz musicians in Beijing. While Shanghai owned China's jazz history spotlight in the first half of the twentieth century, Beijing is not without its own indigenous leading lights, musically speaking. Some have been trained in classical music in China and in the United States and have returned to Beijing to perform; others are self-taught. Many are young; some have been around before and after Mao. All are devoted to the music. In Beijing, saxophonist Fan Shengqi is by all accounts the most enduring jazz musician who performed before, during and after Mao. His involvement in the contemporary Chinese music scene is reflected in his participation in China's first guitar festival, held in August 2005 on what is described as “scenic Hainan Island” located in the South China Sea.

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Goldschmitt, K. E. "Copying the Bossa Nova." In Bossa Mundo, 24–51. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190923525.003.0002.

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This chapter analyzes the initial proliferation of bossa nova in the United States and United Kingdom in the early 1960s, primarily as a jazz and dance fad. By using material culled from top English-language periodicals of the era, it traces the popularity of bossa nova in the United States from its adoption by jazz musicians in the early 1960s, the invention of a dance to accompany the musical trend, and the ultimate rejection of bossa nova by purists in the jazz press. It also shows how the style’s initial popularity was partially due to the divisive racial politics that had overtaken jazz in that era, allowing the Otherness of bossa nova to temporarily offer an alternative for jazz musicians and fans.

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Lapidus, Benjamin. "“Invasión Del 80/¡Yo Vine Del Mariel!”." In New York and the International Sound of Latin Music, 1940-1990, 279–322. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831286.003.0007.

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This chapter discusses the immediate musical impact of the 1980 Mariel Boatlift by examining some of the dancers and musicians who arrived in New York City at that time: Orlando “Puntilla” Ríos, Manuel Martínez Olivera “El llanero solitario” (The Lone Ranger), Roberto Borrell, Rita Macías, Xiomara Rodríguez, Félix “Pupy” Insua, Pedro Domech, Daniel Ponce, Fernando Lavoy, Gerardo “Taboada” Fernández, Gabriel “Chinchilita” Machado, and many others. The chapter highlights the musical activities of these people and other musicians and its long-term effects on the folkloric and Latin popular dance music scenes in New York and the greater United States, not only in the performance realm but in many cases also as teachers for subsequent generations of Cuban and non-Cuban musicians, particularly Puerto Ricans in New York City. This group of artists who arrived during El Mariel would also serve as important points of connection for the next major wave of newly arriving musicians and dancers in the early 1990s, known as the balseros (raft people). Ultimately, the chapter provides an analysis of and insight into this overlooked era of Cuban musical history in New York and how it would impact Latin music in New York and elsewhere.

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Storhoff, Timothy P. "US-Cuban Musical Relations before and after the Revolution." In Harmony and Normalization, 3–29. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830876.003.0001.

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Chapter One provides the history and context for the rest of the book. The United States and Cuba had a vibrant musical relationship before the Cuban Revolution. When the United States instituted a trade embargo and travel ban on Cuba, musicians continued to seek opportunities for cultural exchange and pushed the boundaries of what travel policies permitted. The chapter outlines how the US-Cuban relationship has changed under various US Presidents, and how musical exchanges have been both stifled and briefly sanctioned under different administrations.

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Atti di convegni sul tema "Funk musicians – United States"

Zhen, Ying. "Career Challenges Musicians Face in the United States." In MEIEA Summit 2020. Music and Entertainment Industry Educators Association, 2020. http://dx.doi.org/10.25101/20.37.

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