DOCSLIB.ORG

M U SIC H a LL M Arks

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
M U SIC H a LL M Arks MU AS PIuCblic aHtionA Of LThLe S oMcietya rks For The Preservation Of Music Hall 1241 Elm Street, Cincinnati, Ohio 45202 2011 Spring Issue 1 MUSIC HALL Marks MUSIC HALL Marks 2 SPMH BOARD of Directors 2011 SpringS isP heMre!!!H Ev e-ry sPearsoen sidaeren “stw’sin gMing ientsos saprgineg” as well. President Joel Ebersole Victoria Morgan of the year is wonderful and beauti - Our new colorful posters are turn - Donald Siekmann Marge Hammelrath - Cincinnati Ballet ful, yet we most eagerly await the ing heads throughout Music Hall, Barbara Harshman Laure Quinlivan coming of spring. It’s a time of and, we recently helped fund a Immediate Past President William Henrich - City of Cincinnati awakening with a foretaste of what Music Hall Gift Shop improvement. Norma Petersen Mary Ellyn Hutton Steven Sunderman is to come -- many more sunlight Also, on May 5th, we will present Peter Koenig - Cincinnati May hours, warmer weather, “On Broadway with the Vice Presidents Walter E. Langsam Festival vacations, convertibles, Mighty Wurlitzer” in the Joanne Grueter Ramon Rodriguez picnics, wow! -- hard to Ballroom. This follows Kathy Janson Eugene Saenger, Jr. stop the list…! Here at our sold-out December Honorary Director Mace Justice Alan Sakalas Music Hall, wonderful debut of the series. Claire Phillips Ed Rider Rosemary Schlachter things also happen in Please plan to attend; I John Senhauser Life Members every season of the promise you will enjoy Recording Secretary Kathryn W. Shahani Louise Dieterle Nippert year, and, this “eagerly the evening! Karen McKim Sue Sommer Joyce Van Wye, awaited” spring brings Lastly, for your Norman Thomas Co-Founder even more “can’t-miss” “save the date” list, we Corresponding Secretary Sallie Wadsworth events and previews of are planning our SPMH Marcella Hsiung Don Siekmann Nancy Wagner what is to come. Annual Member Meet - Past Presidents Treasurer Ronald Wehmeier First, there are just a few more ing for September 26th in the Marlene Johnson Mark Weadick Stacey Woolley opportunities to see Paavo Jarvi in Music Hall Ballroom. Once again Joyce Van Wye his final concerts as Music Director we will feature an executive update Directors Ex Officio Directors of the CSO. Among them are a of the Music Hall Revitalization Music Hall Liaison Lisa Allison Patty Beggs long awaited appearance by Yo-Yo Project. If you are not already an Scott Santangelo Barbara Boyd - Cincinnati Opera Ma on May 3rd and, concluding the SPMH member, please become Maureen Dillon Trey Devey season on May 14th, Paavo’s one; simply use the enclosed Meredith Downton - Cincinnati Symphony Farewell Finale with Mahler’s epic membership envelope and then Orchestra Symphony No.5 . Then, the May join us in September. Festival “Sings-Out” with two out - On a truly sad note we have standing weekends, starting with all lost our friend, and fellow board Table of Contents Verdi’s Requiem , on May 20th, and member, Bob Howes, to a terrible page 1 What’s Happening Now at ending with Mendelssohn’s Elijah cancer. Bob was a dedicated, tal - SPMH President’s Message . Music Hall . page 13 on May 28th. Finally, the Cincinnati ented and passionate friend to so SPMH 2011 Board . .. page 2 page 14 Opera’s season is just over the many. A tribute is included in this Bob Howes . page 3 I Remember When. horizon with a mixture of classic Newsletter as well as on the SPMH SPMH Mission Statement . page 4 A Music Hall Memory . page 21 and modern blockbusters. The ex - website. Take a Tour, Become a Guide. page 5 Music Hall Has it All . page 23 citement begins on June 16th with Thanks again to all our SPMH High Notes! . page 6 May 5th “On Broadway”. page 24 an all time favorite…….Giuseppe members and supporters. We wish Washington Park . .. page 7 SPMH Donors . page 26 Verdi’s Rigoletto . Great things are you a joyful spring, and, I look for - Revitalization Circa 1939 . page 9 Joanne Honschopp Bio . page 30 happening in Music Hall this ward to seeing you in Music Hall! Acknowledgements. page 30 spring! - Don Siekmann “Happy Holidays with the page 10 Certainly, we here at SPMH Mighty Wurlitzer”. 3 MUSIC HALL Marks MUSIC HALL Marks 4 tioning of the Orchestra on the actly right, that our Mission as it re - Bob Howes 1951-2011 stage. “The goal is to get the entire lates to the Preservation of our As a Vice President of The So - and construction companies. orchestra into the Music Hall be clearly ciety for the Preservation of Music In all his studies of early Music house with the audi - understood by every - Hall, Bob’s dedication to the organ - Hall documents he sought to un - ence, allowing the au - one. ization was exemplary and his con - derstand Hannaford’s original in - dience to be more of a Bob was passion - tributions extensive. tent for the structure part of the performance ate about music, about He was Founder and as well as to gain an so that concerts will be Music Hall and about Chair of the SPMH understanding of all more a shared and inti - SPMH. He put his best Archives Committee successive major mate experience.” effort into every under - which he later re - work on the building. In all of his efforts taking and he is and named the Historical This wealth of knowl - for Music Hall and for will be missed by his Committee. In 2003 edge is of importance SPMH, Bob’s intense friends and colleagues. he spearheaded the in the current Revital - desire for knowledge, A Memorial Service cel - Music Hall Archives ization plan of Music understanding and Bob Howes ebrating his life was Exhibit, an ongoing Bob Howes portraying Reuben Springer Hall. As a CSO musi - clarity is so evident. held in Music Hall on display of Music Hall cian (the longest- This was never more apparent to February 27th. For a more in-depth historical items, inside the Hall in serving member of the viola me than when he phoned one look at Bob’s life see Joanne partnership with the Cincinnati His - section), and member of the Work - evening to discuss his work on the Grueter‘s tribute at torical Society. In his capacity as ing Group, he provided invaluable new wording of the SPMH Mission www.spmhcincinnati.org Chair, he researched and then dis - insights to theatre and other con - Statement. He was most con - - Kathy Janson cussed with Cincinnati City Council sultants. cerned that we get the wording ex - members official documents relat - Bob was a member of the ing to the owner - SPMH advisory committee of SPMH MISSION STATEMENT ship and Music Hall experts which assisted The mission of The Society for the Preservation of Music Hall manage - WCET in producing the 2005 docu - is to preserve, promote, improve, and provide education about Music Hall, ment of mentary Music Hall: Cincinnati funding special projects in addition to Music Hall management’s operational Music Hall Finds its Voice . In a section of the and maintenance obligations, and facilitating communications among in order to historical dramatization, he used Music Hall management, owner, and tenants, in order to perpetuate Music come to a his acting talents in portraying Hall as the premier cultural center of the Region, and as a common un - Reuben Springer. National Historic Landmark of international significance. derstanding He believed that all concert of the complex halls have a personality and that territory that is Music Hall’s personality is one of Music Hall. inclusion. “It was built for the citi - Give the gift of History Emphasizing the zens of Cincinnati and this is what close involve - makes Music Hall what it is spiritu - Purchase Music Hall: ment of the City in ally, it has that very friendly, open, former renovations, he welcoming quality” he said. Conse - “Cincinnati Finds its Voice” shared with Council quently his research concerning members informa - the two prosceniums of Music Hall DVD or VHS tion about contracts emphasized the spirit of inclusion Bob Howes with architects and his work resulted in the reposi - call (513) 744-3293 5 MUSIC HALL Marks MUSIC HALL Marks 6 visit Music Hall at night. They set town visitors, regularly tour Music Take a Tour, Become a Guide up cameras and audio equipment Hall. Lunches can be arranged in The Society for the Preserva - prised to learn that Music Hall con - in one or more locations, in order conjunction with tours. To schedule tion of Music Hall has been spon - sists of three separate buildings: to monitor Music Hall’s spirits! a tour for a group of ten or more on soring tours for many years. The the central Springer Auditorium, the Groups from schools, groups non-concert days, call 744-3344. founders of the Society and the North Hall and the South Hall. from social clubs and retirement To schedule a pre-concert tour call concert goers, who had experi - Guides enjoy describing how each living, as well as groups of out of 744-3331. - Mace Justice enced the beauty of the Hall, were of the buildings evolved from 1878 motivated to pass to the present. The on this love of North Hall first ex - Congratulations to JoanHne igh NA ofutlle psa! ge photo of the Mighty Music Hall and its hibited Cincinnati Grueter for her fine work in getting Wurlitzer installed in the Ballroom history to others. machinery, then it the new website up and running! graces the Journal’s cover. Ron’s The first guides became a sports This fabulous tool increases the excellent article details the history read books and ar - arena, and today it visibility of of the ticles and inter - houses the Opera SPMH and Mighty viewed Music Hall offices and the offers a Wurlitzer personnel to pre - paint and carpentry higher level from 1927 pare a ‘fact sheet’ shops.
Load more

Recommended publications
  • Connecting Music and Place: Exploring Library Collection Data Using Geo-Visualizations
    Evidence Based Library and Information Practice 2017, 12.2 Evidence Based Library and Information Practice Research Article Connecting Music and Place: Exploring Library Collection Data Using Geo-visualizations Carolyn Doi Music & Education Librarian University Library University of Saskatchewan Saskatoon, Saskatchewan, Canada Email: [email protected] Received: 23 Jan. 2017 Accepted: 26 Mar. 2017 2017 Doi. This is an Open Access article distributed under the terms of the Creative Commons‐Attribution‐ Noncommercial‐Share Alike License 4.0 International (http://creativecommons.org/licenses/by-nc-sa/4.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly attributed, not used for commercial purposes, and, if transformed, the resulting work is redistributed under the same or similar license to this one. Abstract Objectives – This project had two stated objectives: 1) to compare the location and concentration of Saskatchewan-based large ensembles (bands, orchestras, choirs) within the province, with the intention to draw conclusions about the history of community-based musical activity within the province; and 2) to enable location-based browsing of Saskatchewan music materials through an interactive search interface. Methods – Data was harvested from MARC metadata found in the library catalogue for a special collection of Saskatchewan music at the University of Saskatchewan. Microsoft Excel and OpenRefine were used to screen, clean, and enhance the dataset. Data was imported into ArcGIS software, where it was plotted using a geo-visualization showing location and concentrations of musical activity by large ensembles within the province. The geo-visualization also allows users to filter results based on the ensemble type (band, orchestra, or choir).
    [Show full text]
  • ANDERTON Music Festival Capitalism
    1 Music Festival Capitalism Chris Anderton Abstract: This chapter adds to a growing subfield of music festival studies by examining the business practices and cultures of the commercial outdoor sector, with a particular focus on rock, pop and dance music events. The events of this sector require substantial financial and other capital in order to be staged and achieve success, yet the market is highly volatile, with relatively few festivals managing to attain longevity. It is argued that these events must balance their commercial needs with the socio-cultural expectations of their audiences for hedonistic, carnivalesque experiences that draw on countercultural understanding of festival culture (the countercultural carnivalesque). This balancing act has come into increased focus as corporate promoters, brand sponsors and venture capitalists have sought to dominate the market in the neoliberal era of late capitalism. The chapter examines the riskiness and volatility of the sector before examining contemporary economic strategies for risk management and audience development, and critiques of these corporatizing and mainstreaming processes. Keywords: music festival; carnivalesque; counterculture; risk management; cool capitalism A popular music festival may be defined as a live event consisting of multiple musical performances, held over one or more days (Shuker, 2017, 131), though the connotations of 2 the word “festival” extend much further than this, as I will discuss below. For the purposes of this chapter, “popular music” is conceived as music that is produced by contemporary artists, has commercial appeal, and does not rely on public subsidies to exist, hence typically ranges from rock and pop through to rap and electronic dance music, but excludes most classical music and opera (Connolly and Krueger 2006, 667).
    [Show full text]
  • Relevance and Reform in the Education of Professional Musicians
    RELEVANCE AND REFORM IN THE EDUCATION OF PROFESSIONAL MUSICIANS Proceedings of the 20th International Seminar of the ISME Commission on the Education of the Professional Musician Belo Horizonte, Brazil 15-18 July 2014 Editor Glen Carruthers ©International Society for Music Education 2014 www.isme.org All papers presented at the 2014 ISME CEPROM Seminar in Belo Horizonte, Brazil, were fully (blind) refereed by a panel of international authorities before inclusion in the Seminar Proceedings. Editorial Board Glen Carruthers (Chair) Dawn Bennett Eddy Chong Kaija Huhtanen Don Lebler Angeliki Triantafyllaki National Library of Australia Cataloguing-in-Publication Author: ISME Commission on the Education of the Professional Musician (20th: 2014: Belo Horizonte, Brazil) Title: Relevance and Reform in the Education of Professional Musicians. Proceedings of the 20th International Seminar of the Commission on the Education of the Professional Music, Belo Horizonte, Brazil [electronic resource] ISBN: 978-0-9942055-1-3 (ebook) Notes: Includes bibliographical references. Subjects: Music--Congresses. Music in education--Congresses. ISME Commission on the Education of the Professional Musician Dewey Number: 780.7 Our sincere appreciation is expressed to the following people for their support: Heloisa Feichas Walênia Silva Seminar Host Seminar Co-Host Universidade Federal de Minas Gerais Universidade Federal de Minas Gerais Commissioners 2012-2014 Glen Carruthers, Canada (Chair) Dawn Bennett, Australia Eddy Chong, Singapore Don Lebler, Australia Rosie Perkins, UK (to December 2013)/Kaija Huhtanen, Finland (from December 2013) Angeliki Triantafyllaki, Greece ii TABLE OF CONTENTS Mission Statement and Acknowledgements ..................................................................... 6 Glen Carruthers Preface Relevance and reform in the education of professional musicians – An overview………………………………………………………………………………….... 7 I.
    [Show full text]
  • Ciara Thompson Educational Psychology and Measurement Rachel Gatewood Research-Based Theory of Teaching
    Ciara Thompson Educational Psychology and Measurement Rachel Gatewood Research-Based Theory of Teaching Educational Psychology and Measurement has not only given me a window into how the human brain processes information, but also how various teaching strategies based on that knowledge and research are able to direct my students learning and behavior toward a more successful and enjoyable outcome. My intent as a future educator is to show and transfer my passion for music and various cultures to my students through my teaching strategies. I also intend to show my students that every subject taught in school plays a vital role in music, as well as music playing an important role in every core curricular subject. I have learned several methods based on different cognitive processing theories that can enable my students to thoroughly enjoy the content and repertoire I present in my class, as well as the learning process. I would like my students to leave as musicians, rather than simply people who can play music, even if they do not plan to pursue music beyond my class. That is, in addition to simply knowing notes and rhythms, my students will know theory behind the music as well as the historical, cultural and dramatic intentions that contribute to the character of the piece and be able to execute the character of the piece in a performance setting. My goal is to be not only a teacher, but ultimately a world traveler, bringing my students on musical explorations to all corners of the earth. In the music classroom I plan to use social and cognitive constructivism through utilizing student-centered and discovery-learning opportunities; giving scaffolding support when needed but basing a lot of my classroom design on student-centered and student-leadership activities.
    [Show full text]
  • Development and Validation of a Music Self-Concept Inventory For
    JRMXXX10.1177/0022429417695750Journal of Research in Music EducationHash 695750research-article2017 Original Research Article Journal of Research in Music Education 1 –16 Development and Validation © National Association for Music Education 2017 of a Music Self-Concept Reprints and permissions: sagepub.com/journalsPermissions.nav Inventory for College https://doi.org/10.1177/0022429417695750DOI: 10.1177/0022429417695750 jrme.sagepub.com Students Phillip M. Hash1 Abstract The purpose of this study was to develop a Music Self-Concept Inventory (MSCI) for college students that is easy to administer and reflects the global nature of this construct. Students (N = 237) at a private college in the midwestern United States completed the initial survey, which contained 15 items rated on a 5-point Likert scale. Three subscales determined by previous research included (a) support or recognition from others, (b) personal interest or desire, and (c) self-perception of music ability. A series of exploratory factor analyses supported this model and indicated that deleting two items loading <.40 on their intended subscales improved validity and helped attain simple structure. The final version of the MSCI contains 13 items, explains 63.6% of the variance, and maintains high reliability (total: α = .94; subscales: α = .83– .92). Validity was demonstrated through correlation between the MSCI and another measure of music self-perception (r = .94), MSCI scores and years of participation in music activities (r = .64), and interfactor correlations (r = .71–.75). This instrument will provide a tool for researchers and educators to assess change or development in music self-concept and examine other variables related to this construct. Keywords self-concept, inventory, college/adult learners Self-concept is important to psychological well-being, facilitates the attainment of personal goals, and can potentially explain and predict how a person will act.
    [Show full text]
  • Music and the Social Science Subjects an Inspirational Knowledge Base for Collaboration
    Degree Project Autumn Semester 2013 Master of Education in Music Programme Joakim Nygren Music and the Social Science Subjects An inspirational knowledge base for collaboration Handledare: Prof. Dr. Anders Ljungar-Chapelon Abstract Title: Music and the social science subjects An inspirational knowledge base for collaboration. Author: Joakim Nygren The purpose of this study is to create an inspirational knowledge base to enable future collaboration between music teachers and teachers of the social science subjects in secondary school. In this paper the following research questions will be processed: What are the possibilities of combining the social science subjects (Religion, History, Geography, and Civics) with music? What are teachers’ thoughts on cross-curricular work? The method used in this study is qualitative interviews with four social science- subjects-teachers in secondary school. The results show a big variety in ideas for cross- curricular work, but the informants mostly refer to music and artists from the 20th century. Keywords: Cross-curricular, Interdisciplinary work, Music, Religion, History, Geography, Social studies. Titel: Musik och SO-ämnen En inspirerande kunskapsbas för samarbete. Författare: Joakim Nygren Syftet med studien är att skapa en inspirerande kunskapsbas för att möjliggöra framtida samarbete mellan musiklärare och SO-lärare på högstadiet. I denna uppsats kommer följande frågor att behandlas: Vilka möjligheter finns det att kombinera So-ämnena (religion, historia, geografi, samhällskunskap) med musik? Vad har lärarna för tankar om ämnesintegrerande arbete? Metoden som används i denna uppsats är kvalitativa intervjuer med fyra stycken SO- lärare på högstadiet. Resultaten visar på en stor variation i idéer, med huvudsakligt fokus på musik och artister från 1900-talet.
    [Show full text]
  • Unearthing the Artist: an Autoethnographic Investigation
    The Qualitative Report Volume 26 Number 8 Article 7 8-8-2021 Unearthing the Artist: An Autoethnographic Investigation Diane K. Daly University of Limerick, [email protected] Follow this and additional works at: https://nsuworks.nova.edu/tqr Part of the Music Education Commons, Music Performance Commons, Music Practice Commons, Quantitative, Qualitative, Comparative, and Historical Methodologies Commons, and the Social Statistics Commons Recommended APA Citation Daly, D. K. (2021). Unearthing the Artist: An Autoethnographic Investigation. The Qualitative Report, 26(8), 2467-2478. https://doi.org/10.46743/2160-3715/2021.4796 This Article is brought to you for free and open access by the The Qualitative Report at NSUWorks. It has been accepted for inclusion in The Qualitative Report by an authorized administrator of NSUWorks. For more information, please contact [email protected]. Unearthing the Artist: An Autoethnographic Investigation Abstract In this paper I address how autoethnography was utilized to research the role and value of arts practice research in Western classical music professional training and practice, by a classically trained professional violinist. As a researcher, I use the philosophy and method of Dalcroze Eurhythmics as a framework to excavate the multiple layers of my own practice and investigate whether there is wider potential resonance for other professional performers. I utilize a mixed-mode approach, combining artistic practice with a number of documenting strategies, in particular using autoethnography as a tool for documentation and reflection. I propose key findings concerning the aluev of arts practice, and how an autoethnographic journey facilitated the emergence of the self as artist, within the Western classical music culture.
    [Show full text]
  • Carry on up the Charts
    Carry On up the Charts Carry on up the Charts: The Best of The Beautiful South is an album by English Alternative rock band The Beautiful South. It is the group's fifth album and their first greatest hits collection. It was a major commercial success, reaching number one in the UK Albums Chart and going on to become the second biggest selling album of 1994. Carry on up the Charts was released in November 1994, the same year as the band's previous album Miaow, with its only single, "One Last Love Song", being released in the beautifull south-carry on up hte charts in Music. 46.99 MB. 14. Torrent: Beautiful South - Carry On U...arts The Best Of (1994) Komp. Beautiful South - Carry On Up The Charts The Best Of (1994) Komp May 5, 2009 in Music > Mp3. Verified. 143.12 MB A7481A21800187A59F2D3DD814CDF52C36B34F09. Discover releases, reviews, credits, songs, and more about The Beautiful South - Carry On Up The Charts at Discogs. Complete your The Beautiful South collection. 06. Beautiful South - Let Love Speak up Itself.flac. 07. Beautiful South - Old Red Eyes Is Back.flac. 08. Beautiful South - We Are Each Other.flac. Beautiful South - The Best of the Beautiful South - Carry on up the Charts.log. The Best of the Beautiful South - Carry on up the Charts.cue. arts. However, their hits collection, Carry On Up the Charts, flew to number one and stayed there for weeks. It's nothing more than all their singles, yet compiled together they make the most convincing case for the Beautiful South's sly, cynical sophisticated pop.
    [Show full text]
  • Musiconomics!!! Assignment Overview
    Money, Money, Money – Musiconomics!!! Assignment Overview Common Core Standards Addressed: Key Ideas and Details CCSS.ELA-Literacy.RH.11-12.1 Cite specific textual evidence to support analysis of primary and secondary sources, connecting insights gained from specific details to an understanding of the text as a whole. CCSS.ELA-Literacy.RH.11-12.2 Determine the central ideas or information of a primary or secondary source; provide an accurate summary that makes clear the relationships among the key details and ideas. CCSS.ELA-Literacy.RH.11-12.3 Evaluate various explanations for actions or events and determine which explanation best accords with textual evidence, acknowledging where the text leaves matters uncertain. CCSS.ELA-Literacy.RH.11-12.4 Determine the meaning of words and phrases as they are used in a text, including analyzing how an author uses and refines the meaning of a key term over the course of a text (e.g., how Madison defines faction in Federalist No. 10). CCSS.ELA-Literacy.RH.11-12.6 Evaluate authors’ differing points of view on the same historical event or issue by assessing the authors’ claims, reasoning, and evidence. Integration of Knowledge and Ideas CCSS.ELA-Literacy.RH.11-12.7 Integrate and evaluate multiple sources of information presented in diverse formats and media (e.g., visually, quantitatively, as well as in words) in order to address a question or solve a problem. CCSS.ELA-Literacy.RH.11-12.8 Evaluate an author’s premises, claims, and evidence by corroborating or challenging them with other information. CCSS.ELA-Literacy.RH.11-12.9 Integrate information from diverse sources, both primary and secondary, into a coherent understanding of an idea or event, noting discrepancies among sources.
    [Show full text]
  • How Did Music Therapy Contribute to Patients' Quality of Life in a Hospice
    How did Music Therapy Contribute to Patients’ Quality of Life in a Hospice and Palliative Care Setting? An exegesis submitted to Victoria University of Wellington in partial fulfilment for the degree of Master of Music Therapy Ah Young (Angela) Jeong 2016 Abstract This qualitative research explores how I, as a student music therapist, contributed to patients’ quality of life (QoL) in a hospice and palliative care setting. The study principally focuses on the different music therapy and personal approaches that I used and which seemed to contribute to patients’ QoL. The research was carried out at a hospice in New Zealand and I had sessions with in-patients, day hospice patients and out-patients who were all at varying stages of illness. In this research, secondary analysis of data is used to answer my research question. The data used in this study are the clinical notes and reflexive journals that I gathered while working with 67 patients in a total of 194 sessions. Because QoL is a broad complex concept, I have chosen to use a conceptual framework suggested by music therapy theorist Even Ruud (1997) to put a structure to answering my research question. In thematic analysis, the data were both deductively and inductively analysed. The findings describe music therapy methods, activities, strategies and techniques as well as personal approaches I employed which seemed to promote a sense of affective awareness, agency, belonging and meaning, and coherence of life in patients receiving hospice and palliative care. This study indicated that Ruud’s (1997) framework has particular meaning in the context of hospice palliative care and that the framework could be extended for use in hospice and palliative care.
    [Show full text]
  • Songwriting As Inquiry and Action: Emotion, Narrative Identity, And
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 7-6-2016 Songwriting as Inquiry and Action: Emotion, Narrative Identity, and Authenticity in Folk Music Culture Maggie Colleen Cobb University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Social Psychology Commons, and the Sociology Commons Scholar Commons Citation Cobb, Maggie Colleen, "Songwriting as Inquiry and Action: Emotion, Narrative Identity, and Authenticity in Folk Music Culture" (2016). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/6208 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Songwriting as Inquiry and Action: Emotion, Narrative Identity, and Authenticity in Folk Music Culture by Maggie Colleen Cobb A dissertation submitted in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Sociology College of Arts and Sciences University of South Florida Major Professor: Margarethe Kusenbach, Ph.D. Donileen Loseke, Ph.D. Shawn Bingham, Ph.D. Andrew Berish, Ph.D. Date of Approval: June 10, 2016 Keywords: Festival, Creativity, Social Change, Lived Experience, Embodiment Copyright © 2016, Maggie C. Cobb DEDICATION This dissertation is lovingly dedicated to my grandmother and guardian angel, Betty Jane Walker Gibbons. Thank you for everything. We miss you so. ACKNOWLEDGEMENTS Writing a dissertation is lonely and isolating business. It tends to “get on you,” as a friend of mine often says, and there have been many times where I was quite certain that I was terribly alone in it all.
    [Show full text]
  • Alcohol!Product!Placements!In! Music!
    ! ! ! ! BRANDED!BOOZE!IN!MUSIC! ! The!Effects!of!Alcohol!Product!Placements!in! Music!Videos!on!Memory,!Attitude!and! Behavior!! ! ! Shefali!M.!Kapadia! American)University) ) ) Professor!Cristel!A.!Russell! Department)of)Marketing) Kogod)School)of)Business) ) ) University)Honors)) Spring)2013) ) Branded!Booze!In!Music! ! The!Effects!of!Alcohol!Product!Placements!in!Music!Videos!on!Memory,! Attitude!and!Behavior! ! Shefali!M.!Kapadia! American)University) ! ) ABSTRACT:)References)to)alcohol)and)other)illicit)substances)in)the)media)are)on)the)rise.)A) relatively)unexplored)medium)is)the)music)video.)The)following)study)measured)the)effects) of)product)placements)of)alcohol)in)two)music)videos:)Pitbull’s)“International)Love”)and)Big) Sean’s)“Dance)(A$$).”)Each)video)was)manipulated)to)create)a)blurred)condition,)where)the) alcohol) brand) was) blurred,) and) a) cut) condition,) in) which) the) product) placement) was) completely) removed,) for) a) total) of) six) possible) conditions.) The) study) found) the) highest) brand)recall)among)those)assigned)to)Pitbull’s)original)condition.)The)results)also)indicated) a)greater)objection)to)Big)Sean’s)video.)Participants)overall)expressed)a)greater)likability) toward)the)artist)Pitbull)and)the)“International)Love”)song)and)video.)None)of)the)videos) seemed)to)influence)behavior)in)terms)of)likelihood)to)consume)alcohol.)The)results)of)this) study)have)implications)for)marketers)in)terms)of)effectiveness)of)product)placements)in) music)videos.)The)results)are)also)useful)to)those)who)study)the)effects)of)negative)themes)
    [Show full text]