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Dylan's Apocalypse
DYLAN‘S APOCALYPSE: COUNTRY MUSIC AND THE END OF THE WORLD A Thesis by ADAM CLAY GRIFFEY Submitted to the Graduate School Appalachian State University In partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2011 Department of History DYLAN‘S APOCALYPSE: COUNTRY MUSIC AND THE END OF THE WORLD A Thesis by ADAM CLAY GRIFFEY August 2011 APPROVED BY: _____________________________ Dr. James Goff Chairperson, Thesis Committee _____________________________ Dr. Timothy Silver Member, Thesis Committee _____________________________ Dr. Michael Wade Member, Thesis Committee ____________________________ Dr. Lucinda McCray Chairperson, Department of History ____________________________ Dr. Edelma D. Huntley Dean, Research and Graduate Studies Copyright by Adam Clay Griffey 2011 All Rights Reserved ABSTRACT DYLAN‘S APOCALYPSE: COUNTRY MUSIC AND THE END OF THE WORLD. (August 2011) Adam Clay Griffey, B.A., Berea College M.A., English, Appalachian State University M.A., History, Appalachian State University Thesis Chairperson: Dr. James Goff At the end of the 1960s, with the United States escalating a war overseas while a revolution stirred at home, Bob Dylan retreated from his public (if unasked for) role as a spokesman for the political Left, and wrote and recorded two albums of country music. In so doing he merged his abiding interest in the apocalyptic with that of the events of his times. This thesis looks at the history behind John Wesley Harding (1967) and Nashville Skyline (1969) and argues for their relevance as expressions of both the country music tradition and to the history of apocalyptic prophecy. Chapter I discusses Dylan‘s place in the lineage of biblical prophecy and eschatological writing. -
Film Music and Film Genre
Film Music and Film Genre Mark Brownrigg A thesis submitted for the degree of Doctor of Philosophy University of Stirling April 2003 FILM MUSIC AND FILM GENRE CONTENTS Page Abstract Acknowledgments 11 Chapter One: IntroductionIntroduction, Literature Review and Methodology 1 LiteratureFilm Review Music and Genre 3 MethodologyGenre and Film Music 15 10 Chapter Two: Film Music: Form and Function TheIntroduction Link with Romanticism 22 24 The Silent Film and Beyond 26 FilmTheConclusion Function Music of Film Form Music 3733 29 Chapter Three: IntroductionFilm Music and Film Genre 38 FilmProblems and of Genre Classification Theory 4341 FilmAltman Music and Genre and GenreTheory 4945 ConclusionOpening Titles and Generic Location 61 52 Chapter Four: IntroductionMusic and the Western 62 The Western and American Identity: the Influence of Aaron Copland 63 Folk Music, Religious Music and Popular Song 66 The SingingWest Cowboy, the Guitar and other Instruments 73 Evocative of the "Indian""Westering" Music 7977 CavalryNative and American Civil War WesternsMusic 84 86 PastoralDown andMexico Family Westerns Way 89 90 Chapter Four contd.: The Spaghetti Western 95 "Revisionist" Westerns 99 The "Post - Western" 103 "Modern-Day" Westerns 107 Impact on Films in other Genres 110 Conclusion 111 Chapter Five: Music and the Horror Film Introduction 112 Tonality/Atonality 115 An Assault on Pitch 118 Regular Use of Discord 119 Fragmentation 121 Chromaticism 122 The A voidance of Melody 123 Tessitura in extremis and Unorthodox Playing Techniques 124 Pedal Point -
The Impact of African-American Musicianship on South Korean Popular Music: Adoption, Appropriation, Hybridization, Integration, Or Other?
The Impact of African-American Musicianship on South Korean Popular Music: Adoption, Appropriation, Hybridization, Integration, or Other? The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Gardner, Hyniea. 2019. The Impact of African-American Musicianship on South Korean Popular Music: Adoption, Appropriation, Hybridization, Integration, or Other?. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42004187 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Impact of African-American Musicianship on South Korean Popular Music: Adoption, Appropriation, Hybridization, Integration, or Other? Hyniea (Niea) Gardner A Thesis in the Field of Anthropology and Archaeology for the Degree of Master of Liberal Arts in Extension Studies Harvard University May 2019 © May 2019 Hyniea (Niea) Gardner Abstract In 2016 the Korea Creative Content Agency (KOCCA) reported that the Korean music industry saw an overseas revenue of ₩5.3 trillion ($4.7 billion) in concert tickets, streaming music, compact discs (CDs), and related services and merchandise such as fan meetings and purchases of music artist apparel and accessories (Kim 2017 and Erudite Risk Business Intelligence 2017). Korean popular music (K-Pop) is a billion-dollar industry. Known for its energetic beats, synchronized choreography, and a sound that can be an amalgamation of electronica, blues, hip-hop, rock, and R&B all mixed together to create something that fans argue is “uniquely K-Pop.” However, further examination reveals that producers and songwriters – both Korean and the American and European specialists contracted by agencies – tend to base the foundation of the K-Pop sound in hip-hop and R&B, which has strong ties to African-American musical traditions. -
Song Trails South Info
SONG TRAILS SOUTH Tour: Monday 25 July : Murgon – Murgon Town Hall Tuesday 26 July : Mundubbera – Mundubbera Community Hall Wednesday 27 July : Gladstone – Gladstone Entertainment Centre Thursday 28 July : Maryborough – Gatakers Art Space Friday 29 July : Gatton – (Recovery Concert) Sunday 31 July : Brisbane – The Brisbane Powerhouse (Finale Concert) Time: Workshops 5.30pm – 9.30pm Recovery Concert – 7.30 – 9.30pm (TBC local act/s to open) Finale Concert – 3.30pm – 5.15pm Artists: Clare Bowditch, Kev Carmody, Stephen Cummings, Dave Faulkner PROJECT DESCRIPTION AND BACKGROUND Song Trails is a highly original and inclusive concept. Teams of renowned Australian artists of the highest calibre embark on journeys across Queensland to engage and excite regional singer-songwriters in free collaborative song writing workshops. A diverse range of amateur and emerging artists of all ages are attracted to these workshops as they provide unique educational and networking opportunities rarely offered outside major centres. Song Trails is enthusiastically assessed by the local participants, with 100% rating the workshop as a ‘fantastic experience’ (see recent participant survey page 3). Song Trails 2011 builds on the highly successful regional Queensland tours of the 2007 and 2009 festivals. Each council will host an exceptional line up of artists made up of Clare Bowditch, Kev Carmody, Stephen Cummings (The Sports), and Dave Faulkner (Hoodoo Gurus). Singer-songwriter Clare Bowditch 1 The workshop format creates an informal learning space where individuals from all walks of life can hone their talents under the tutelage of the best musicians in the business. Participants have the opportunity to write songs in groups led by the artists, present their own work for assessment and assistance by the team of experts, as well as learn tips for successful song writing from the artistic team. -
Music 2025 the Music Data Dilemma: Issues Facing the Music Industry in Improving Data Management
Music 2025 The Music Data Dilemma: issues facing the music industry in improving data management Research commissioned by the Intellectual Property Office and carried out by Ulster University: Professor Frank Lyons, Dr Hyojung Sun, Dennis Collopy, Paul O’Hagan and Professor Kevin Curran. Findings and opinions are those of the researchers, not necessarily the views of the IPO or the Government. Intellectual Property Office is an operating name of the Patent Office Music 2025 Core Research Team: ISBN: 978-1-910790-40-3 Music 2025: The Music Data Dilemma: issues facing Professor Frank Lyons is Dean of Research and Impact in Arts, Humanities the music industry in improving data management and Social Sciences at Ulster University. He has developed an international profile as a composer and researcher with over 150 performances and Published by The Intellectual Property Office exhibitions of his works in China, Japan, Australia, South Africa, the US, June 2019 Europe, the UK and Ireland and broadcast on BBC, RTE, NPR and ABCFM, performed by some of the world’s leading soloists and ensembles. He has 1 2 3 4 5 6 7 8 9 10 also developed an international network of research collaborations in the field of creative technologies and disability under the ‘Inclusive Creativity’ banner. © Crown Copyright 2019 Professor Lyons is currently Co-Director of Ulster’s Creative Industries Institute and Co-Director (Partnerships) of Future Screens NI, a collaboration with QUB You may re-use this information (excluding logos) and a number of key industrial partners which secured £13million from AHRC free of charge in any format or medium, under the and industry to drive growth in the creative economy in the region.