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“Until That Song Is Born”: an Ethnographic Investigation of Teaching and Learning Among Collaborative Songwriters in Nashville
“UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2016 ABSTRACT “UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill With the intent of informing the practice of music educators who teach songwriting in K– 12 and college/university classrooms, the purpose of this research is to examine how professional songwriters in Nashville, Tennessee—one of songwriting’s professional “hubs”—teach and learn from one another in the process of engaging in collaborative songwriting. This study viewed songwriting as a form of “situated learning” (Lave & Wenger, 1991) and “situated practice” (Folkestad, 2012) whose investigation requires consideration of the professional culture that surrounds creative activity in a specific context (i.e., Nashville). The following research questions guided this study: (1) How do collaborative songwriters describe the process of being inducted to, and learning within, the practice of professional songwriting in Nashville, (2) What teaching and learning behaviors can be identified in the collaborative songwriting processes of Nashville songwriters, and (3) Who are the important actors in the process of learning to be a collaborative songwriter in Nashville, and what roles do they play (e.g., gatekeeper, mentor, role model)? This study combined elements of case study and ethnography. Data sources included observation of co-writing sessions, interviews with songwriters, and participation in and observation of open mic and writers’ nights. -
THE KATE BUSH MYSTERIES: Fact Or Fiction? Robert Moore
THE KATE BUSH MYSTERIES: Fact or Fiction? Robert Moore INTRODUCTION: Since her appearance on the popular music scene in 1978, the English singer-songwriter Kate Bush has been associated in the publicIntroduction. consciousness with a cornucopia of “new age” ideals. But where does media hype, fiction and wishful thinking end and the truth begin? This article examines these various claims, statements and interpretations in an attempt to determine whether these rumours and populist legends have any valid justification … Meet the Music Muse….. To begin at the beginning, this distinctive musical artist - actual name Catherine Bush - was born on the 30 th July 1958; her father being a General Practitioner, her mother a nurse originating from Ireland (who was reputedly psychic) (1) . Kate Bush was raised within a close, musical and artistic middle-class family, several members of which - most notably her two brothers Patrick and John - reportedly had an interest in various “countercultural” concepts (1). Educated at St. Joseph’s Convent Grammar School, Abbey Wood, Bush started to write her first songs and accompanying piano compositions during her very early teens (2). Since coming to public notice due to her 1978 hit single “Wuthering Heights” , Bush has enjoyed a surprisingly long - albeit intermittent – career, represented by 8 albums (and one compilation disc); The Kick Inside (1978) (TKI), Lionheart (1978) (LEO), Never For Ever (1980) (NFE), The Dreaming (1982) (DRE), Hounds of Love (1985) (HOL), The Whole Story (1986) (TWS), The Sensual World (1989) (TSW), The Red Shoes (1993) (TRS) and Aerial (2005) (AER). Bush is also notable for incorporating into her music elements of dance, mime and theatre in various performances and videos during the late 1970’s, 1980’s and 1990’s (see biography listing in “References” section). -
Song Adaptations of Literature by Kate Bush
1 Stepping out of the Page: Song Adaptations of Literature by Kate Bush BA Thesis English Language and Culture, Utrecht University Kiki Drost 4147529 Dr. Roselinde Supheert (Supervisor) Dr. Sarah Chambers (Second Reader) June 2016 2 Contents Contents P. 2 Introduction P. 3 Chapter One: Deeper Understanding P. 5 Chapter Two: Wuthering Heights P. 10 It’s me, Your Cathy P. 11 Conclusions P. 14 Chapter Three: The Red Shoes P. 16 Dance You Shall P. 16 The Line, the Cross and the Curve P. 18 I’m Gonna Dance the Dream P. 19 Conclusions P. 22 Chapter Four: The Sensual World P. 24 Our Arrows of Desire Rewrite the Speech P. 24 Stepping Out of the Page P. 27 Conclusions P. 28 Conclusion P. 30 Works Cited P. 32 Appendix One (Song Overview) P. 35 Appendix Two (Lyrics) P. 38 Appendix Three (Stills) P. 42 3 Introduction Kate Bush is a British singer-songwriter, musician and record producer, who was born in Bexleyheath, Kent on the 30th of July 1958. She first became famous when she was 19, when she topped the British pop charts with her debut single “Wuthering Heights” in 1978. Since then she has released many songs and albums and became a famous and influential individual in the music industry. One of Bush’s trademarks is that she writes songs that allow her to put herself into fictional situations and, in a way, become someone else and tell stories from this perspective (Reynolds, and Press 282, 292). Some of these storytelling-songs have been inspired by existing stories or literature. -
A Rhetorical Analysis of Music As a Mode of Resistance in the 21St Century
THE REVOLUTION WILL BE SPOTIFIED: A RHETORICAL ANALYSIS OF MUSIC AS A MODE OF RESISTANCE IN THE 21ST CENTURY Triauna Carey A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2020 Committee: Daniel Bommarito, Committee Co-Chair Radhika Gajjala, Committee Co-Chair Julia Halo Graduate Faculty Representative Neil Baird © 2020 Triauna Carey All Rights Reserved iii ABSTRACT Daniel Bommarito, Committee Co-Chair Radhika Gajjala, Committee Co-Chair This research project analyzes how musicians and genres of music are used as rhetorically effective modes of resistance in political and social climates in the West to break down barriers culturally and reveal systems of power. An interdisciplinary approach is implemented that combines cultural rhetorics, popular culture studies, communication studies, and ethnomusicology to investigate the way musicians send messages of resistance to different audiences and listeners. In order to do so, Huckin, Andrus, and Clary-Lemon’s concept of critical discourse analysis is used to analyze the way music lyrics convey meaning and cue the audience to certain resistant messages in different ways. In addition, Royster and Kirsch’s concept of social circulation is utilized to tap into the ways technology and online social spaces are interrogated as complex rhetorical spaces that are multidimensional and add new levels of activism for musicians. The study focuses on four mainstream genres, pop, rap and hip-hop, rock and alternative, and country, to reveal how artists in these genres use the rhetorical strategies available in the genre to reach their audience, while also navigating the power systems and structures at play. -
Campus Press December 2017 Online Edition
C_ P7 C773: “Striving to Report the News Accurately, Fairly and Fully” TheTheThe Campus Press Student Newspaper of Camden County College www.camdencc.edu Volume 31, Issue 7 December 2017 BYY7J`...BYY7J` A C HRISTMAS MEMORY : Big Holiday in the Big Apple • Hear ye, hear ye! By S7` M-GJ``J about it was serviceable. The Madison Literary MAD LIT Society of Campus Press Writer and Columnist Christmas Day was typical, but charming. We Camden County College will be hosng the got our presents, took pictures, and smiles were club’s semesterly recitaon contest hristmas: by shared. The night far one of the before, our “Poec Idol” on Thursday, December 7th in C most friends, brother the CIM Auditorium. Signups for anticipated days of and I spent the contestants are at 6:30 p.m. Showme is at the year; when night watching 7 p.m. Refreshments will be served. For families and friends Christmas get together, either specials. Keep in further informaon, contact the club’s for religious mind, we’re Sonic faculty advisor Keith O’Shaughnessy at celebration or just to the Hedgehog [email protected]. show their fans, so we made appreciation and the YouTube love for each other. animatic series Such a holiday can Christmas with create the most Sonic our yearly Photo: Rockefeller Center Christmas Tree: media.meout.com cherished and tradition; catching wonderful of memories, and I’m pretty sure that up with the older ones and watching the latest anyone can tell at least one Christmas story that one. It’s a bit goofy, but we still loved it. -
MTO 23.4: Forrest, PL Voice Leading and the Uncanny in Pop Music
PL Voice Leading and the Uncanny in Pop Music David L. Forrest NOTE: The examples for the (text-only) PDF version of this item are available online at: h&p://www.mtosmt.org/issues/mto.17.23.4/mto.17.23.4.forrest.php /E0WO2DS: pop music, neo 2iemannian transformations, uncanny, tonal harmony, voice leading, hermeneutics, The 5eatles, Pearl 6am A5ST2ACT: Chromatic, ma9or third root movement comprises a special class of triadic progression. The contrary motion of half steps, described as PL voice leading, produces a perceptual paradox that simultaneously destroys any sense of bac:ground diatonic collection and forces irreconcilable interpretations of consonance and dissonance. 2ichard Cohn, 2ichard Tarus:in, Ma&hew 5ribi;er Stull, and Sco& Murphy identify examples from 19 th century music and =lm scores that connect this type of progression with descriptions of uncanny or supernatural phenomena. This article explores the same association in contemporary pop music. Surveying a wide variety of songs from 1956–2016, I examine diCerent tonal and formal contexts in which this phenomenon occurs and provide hermeneutic readings where the association between lyrics and harmony is less obvious. While not every PL/LP transformation evo:es an uncanny experience, when the transformations are used conspicuously between ad9acent or framing harmonies, the pervasive associations with the uncanny, across sub genre and generational lines, are hard to ignore. Received August 2017 Volume 23, Number ., December 2017 Copyright D 2017 Society for Music Theory Introduction E1] The lyrics to Pearl 6amGs “I Got Id” describe a man trapped in his own mind, unable to discern reality from imagination.