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Libri sul tema "Men of the Deeps (Musical group)"

Autore: Grafiati

Pubblicato: 29 luglio 2024

Ultima modifica: 31 luglio 2025

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1

O'Donnell, John C. The Men of the Deeps: A journey with North America's only coal miners chorus. Cape Breton University Press, 2016.

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2

Hardy, James Earl. Boyz II Men. Chelsea House Publishers, 1996.

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3

Hardy, James Earl. Boyz II Men. Chelsea House Publishers, 1996.

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4

Henderson, Rita Elizabeth. The Boyz II Men success story: Defying the odds. Aynderson Press, 1995.

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5

Blayney, David. Sharp dressed men: ZZ Top behind the scenes from blues to boogie to beards. Hyperion, 1994.

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6

Thompson, Dave. Red Hot Chili Peppers: True men don't kill coyotes. Virgin, 1993.

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7

Dalton, Linda S. Playing in the sand with Boyz II Men: The making of the video Water runs dry. L.S. Dalton, 1996.

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8

Marten, Neville. The Kinks: Well respected men. Castle Communications, 1996.

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9

1960-, Wapshott Tim, ed. Mercury and Me. Bloomsbury, 1995.

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10

Morris, Nathan, Michael McClary, Shawn Stockman, and Wanya Morris. Boyz II Men: Us II You. Harpercollins, 1995.

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11

Morris, Nathan, Michael McClary, Shawn Stockman, and Wanya Morris. Boyz II Men: Us II You. Harpercollins, 1995.

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12

(Editor), Tom Gallagher, Michael Campbell (Editor), and Murdo Gillies (Editor), eds. All Men Have Secrets. Doctor Who Books, 1995.

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13

Dirksen, Rebecca. After the Dance, the Drums Are Heavy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190928056.001.0001.

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Haitian carnival offers a lens into popular power and politics. Political demonstrations in Haiti often manifest as musical performances. Studying carnival and political protest side by side brings insight to the musical engagement that ordinary citizens and celebrity musicians often cultivate and revere in contemporary Haiti. This book explores how the self-declared president of konpa Sweet Micky (Michel Martelly) rose to the nation’s highest office while methodically crafting a political product inherently entangled with his musical product. It provides deep historical perspective on the cha

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14

Archer, Mandy. 5 Seconds of Summer: Shoot for the stars. 2014.

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15

Fathomless riches: Or, How I went from pop to pulpit. Weidenfeld & Nicolson, 2014.

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16

Coles, Richard. Fathomless riches ; or how I went from pop to pulpit. 2015.

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17

Richards, Paul. Shifting Cultivation as Improvisation. Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.22.

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Shifting cultivation is a type of farming without fixed boundaries. It obeys an ecological logic but requires constant improvisation and adaptation to fluid circumstances. The character of improvisation in shifting cultivation is explored with reference to an African case study (rice farming by the Mende people of Sierra Leone). Two elements are emphasized in particular—the management of fire (by men) and rice seeds (by women). A contrast, applicable not only to farming, but also to other activities such as military conflict and musical performance, is drawn between strategic planning and tact

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18

Beale, Charles. “A Different Kind of Goose Bump”. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.20.

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This chapter examines the musical practices and procedures of choruses such as the famous Gay Men’s Chorus within the LGBTQ (Lesbian, Gay, Bisexual, Transgender, Queer) communities of the United States and Europe, and more specifically the discourse in and around them. It focuses on choral pedagogy as it is found in such ensembles and communities, drawing on the literature and first-hand accounts from singers, conductors and audience members, and examines what they uniquely value in their singing. Specific questions include: what is a good sound for an early MTF (male to female) transgender si

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19

Kartomi, Margaret. Four Sufi Muslim Genres in Minangkabau. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036712.003.0005.

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This chapter examines four genres of Muslim-associated performing arts in Minangkabau: indang, salawek dulang, dikia Mauluik, and dabuih. Indang is a song-dance performed by a row of men or women in duduak (“sitting,” actually half-kneeling) position with rhythmic body movement, clapping, and frame-drum playing. Salawek dulang is performed by a pair of alternating male solo singers, each of whom accompany themselves on a brass percussion tray (dulang). Dikia Mauluik is a group vocal-instrumental form with mostly Sufi-oriented Muslim song texts based on dikia texts that are sung with body exerc

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