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Music and the American Civil War
“LIBERTY’S GREAT AUXILIARY”: MUSIC AND THE AMERICAN CIVIL WAR by CHRISTIAN MCWHIRTER A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Christian McWhirter 2009 ALL RIGHTS RESERVED ABSTRACT Music was almost omnipresent during the American Civil War. Soldiers, civilians, and slaves listened to and performed popular songs almost constantly. The heightened political and emotional climate of the war created a need for Americans to express themselves in a variety of ways, and music was one of the best. It did not require a high level of literacy and it could be performed in groups to ensure that the ideas embedded in each song immediately reached a large audience. Previous studies of Civil War music have focused on the music itself. Historians and musicologists have examined the types of songs published during the war and considered how they reflected the popular mood of northerners and southerners. This study utilizes the letters, diaries, memoirs, and newspapers of the 1860s to delve deeper and determine what roles music played in Civil War America. This study begins by examining the explosion of professional and amateur music that accompanied the onset of the Civil War. Of the songs produced by this explosion, the most popular and resonant were those that addressed the political causes of the war and were adopted as the rallying cries of northerners and southerners. All classes of Americans used songs in a variety of ways, and this study specifically examines the role of music on the home-front, in the armies, and among African Americans. -
Making a Splash
in English Summer’s July here 2018 The magazine for the holiday season in southern Spain Making a splash Swimming, paddling, river hiking, diving, drinking... water is the key ingredient for a perfect summer Taking a break in style. Exclusive villas and fancy beach clubs Entertainment. A sizzling agenda of live music on the Costa del Sol 1 WHAT’S INSIDE Cover photo: Cool thrills at the water park. Youngsters enjoy a day out in the water at Aqualand in Tor- remolinos, one of several parks on the Costa del Sol. :: SALVADOR SALAS SUR IN ENGLISH SUMMER SPECIAL The sounds of summer Director General: José Luis Romero Editor-in -Chief: Manuel Castillo Publications Director: Pedro Luis RACHEL HAYNES zine crosses the border into Granada prov- Gómez ince to find the Vía Verde near Almuñé- After this year’s somewhat unstable car, with its natural swimming pools and Editor: Rachel Haynes spring (I refer to the weather although spectacular waterfalls. Assistant editor: Daryl Finch perhaps the adjective could equally apply Reservoir levels are higher than last to politics or sport) summer has arrived year which is good news for fans of inland Commercial Director: Jorge Artero with authority to restore the uniform bathing and watersports, as well as for the Advertising Manager: Emma Vera blue to the skies above southern Spain - at water supply in a region whose popula- Art Director: Francisco Ruano least at the time of writing. tion multiplies in the summer. The threat Now school’s out and the sea and pools of drought restrictions has been held off Contributors to this magazine: are full of splashing children, beach bars this year but that doesn’t mean that we Andrew Forbes, Debbie Bartlett, Jen- are doing a roaring trade, umbrellas have can relax our water-saving measures. -
Mario Ortiz Jr
Hom e | Features | Columns | Hit Parades | Reviews | Calendar | News | Contacts | Shopping | E-Back Issues NOVEMBER 2009 ISSUE FROM THE EDITOR Welcome to the home of Latin Beat Magazine Digital! After publishing Latin Beat Magazine for 19 years in both print and online, Yvette and I have decided to continue pursuing our passion for Latin music with a digital version only. Latin Beat Magazine will continue its coverage of Latin music through monthly in-depth articles, informative Streaming Music columns, concert and CD reviews, and extensive news and information for everyone. Access to Somos Son www.lbmo.com or www.latinbeatmagazine.com (Latin Beat Magazine Online) is free for a limited Bilongo time only. Windows Media Quicktime Your events and new music submissions are welcome and encouraged by emailing to: [email protected]. The Estrada Brothers Latin beat is number one in the world of authentic Latin music. For advertising opportunities in Mr. Ray lbmo.com, call (310) 516-6767 or request advertising information at Windows Media [email protected]. Quicktime Back issues are still in print! Please order thru the Shopping section! Manny Silvera Bassed in America This issue of Latin Beat Magazine Volume 19, Number 9, November 2009, is our annual "Special Windows Media Percussion/Drum Issue", which celebrates "National Drum Month" throughout North America. Our Quicktime featured artist this month is Puerto Rican percussionist/bandleader Richie Flores. In addition, also featured are Poncho Sanchez (who's enjoying the release of his latest production Psychedelic Blues), and trumpeter/bandleader Mario Ortiz Jr. (who has one of the hottest salsa Bobby Matos productions of the year). -
Almanaque Marc Emery. June, 2009
CONTENIDOS 2CÁLCULOS ASTRONÓMICOS PARA LOS PRESOS POLÍTICOS PUERTORRIQUEÑOS EN EL AÑO 2009. Jan Susler. 6ENERO. 11 LAS FASES DE LA LUNA EN LA AGRICULTURA TRADICIONAL. José Rivera Rojas. 15 FEBRERO. 19ALIMÉNTATE CON NUESTROS SUPER ALIMENTOS SILVESTRES. María Benedetti. 25MARZO. 30EL SUEÑO DE DON PACO.Minga de Cielos. 37 ABRIL. 42EXTRACTO DE SON CIMARRÓN POR ADOLFINA VILLANUEVA. Edwin Reyes. 46PREDICCIONES Y CONSEJOS. Elsie La Gitana. 49MAYO. 53PUERTO RICO: PARAÍSO TROPICAL DE LOS TRANSGÉNICOS. Carmelo Ruiz Marrero. 57JUNIO. 62PLAZA LAS AMÉRICAS: ENSAMBLAJE DE IMÁGENES EN EL TIEMPO. Javier Román. 69JULIO. 74MACHUCA Y EL MAR. Dulce Yanomamo. 84LISTADO DE ORGANIZACIONES AMBIENTALES EN PUERTO RICO. 87AGOSTO. 1 92SOBRE LA PARTERÍA. ENTREVISTA A VANESSA CALDARI. Carolina Caycedo. 101SEPTIEMBRE. 105USANDO LAS PLANTAS Y LA NATURALEZA PARA POTENCIAR LA REVOLUCIÓN CONSCIENTE DEL PUEBLO.Marc Emery. 110OCTUBRE. 114LA GRAN MENTIRA. ENTREVISTA AL MOVIMIENTO INDÍGENA JÍBARO BORICUA.Canela Romero. 126NOVIEMBRE. 131MAPA CULTURAL DE 81 SOCIEDADES. Inglehart y Welzel. 132INFORMACIÓN Y ESTADÍSTICAS GENERALES DE PUERTO RICO. 136DICIEMBRE. 141LISTADO DE FERIAS, FESTIVALES, FIESTAS, BIENALES Y EVENTOS CULTURALES Y FOLKLÓRICOS EN PUERTO RICO Y EL MUNDO. 145CALENDARIO LUNAR Y DÍAS FESTIVOS PARA PUERTO RICO. 146ÍNDICE DE IMÁGENES. 148MAPA DE PUERTO RICO EN BLANCO PARA ANOTACIONES. 2 3 CÁLCULOS ASTRONÓMICOS PARA LOS PRESOS Febrero: Memorias torrenciales inundarán la isla en el primer aniversario de la captura de POLÍTICOS PUERTORRIQUEÑOS EN EL AÑO 2009 Avelino González Claudio, y en el tercer aniversario de que el FBI allanara los hogares y oficinas de independentistas y agrediera a periodistas que cubrían los eventos. Preparado por Jan Susler exclusivamente para el Almanaque Marc Emery ___________________________________________________________________ Marzo: Se predice lluvias de cartas en apoyo a la petición de libertad bajo palabra por parte de Carlos Alberto Torres. -
America's Changing Mirror: How Popular Music Reflects Public
AMERICA’S CHANGING MIRROR: HOW POPULAR MUSIC REFLECTS PUBLIC OPINION DURING WARTIME by Christina Tomlinson Campbell University Faculty Mentor Jaclyn Stanke Campbell University Entertainment is always a national asset. Invaluable in times of peace, it is indispensable in wartime. All those who are working in the entertainment industry are building and maintaining national morale both on the battlefront and on the home front. 1 Franklin D. Roosevelt, June 12, 1943 Whether or not we admit it, societies change in wartime. It is safe to say that after every war in America’s history, society undergoes large changes or embraces new mores, depending on the extent to which war has affected the nation. Some of the “smaller wars” in our history, like the Mexican-American War or the Spanish-American War, have left little traces of change that scarcely venture beyond some territorial adjustments and honorable mentions in our textbooks. Other wars have had profound effects in their aftermath or began as a result of a 1 Telegram to the National Conference of the Entertainment Industry for War Activities, quoted in John Bush Jones, The Songs that Fought the War: Popular Music and the Home Front, 1939-1945 (Lebanon, NH: University Press of New England, 2006), 31. catastrophic event: World War I, World War II, Vietnam, and the current wars in the Middle East. These major conflicts create changes in society that are experienced in the long term, whether expressed in new legislation, changed social customs, or new ways of thinking about government. While some of these large social shifts may be easy to spot, such as the GI Bill or the baby boom phenomenon in the 1940s and 1950s, it is also interesting to consider the changed ways of thinking in modern societies as a result of war and the degree to which information is filtered. -
Leopard Society Music and Language in West Africa, Western Cuba, and New York City Ivor L
African and Black Diaspora: An International Journal Vol. 5, No. 1, January 2012, 85Á103 Bongo´ Ita´: leopard society music and language in West Africa, Western Cuba, and New York City Ivor L. Miller* Research Fellow, African Studies Center, Boston University, USA The Abakua´ mutual-aid society of Cuba, recreated from the E´ kpe` leopard society of West Africa’s Cross River basin, is a richly detailed example of African cultural transmission to the Americas. Its material culture, such as masquerades and drum construction, as well as rhythmic structures, are largely based on E´ kpe` models. Its ritual language is expressed through hundreds of chants that identify source regions and historical events; many can be interpreted by speakers of E` f`k,ı the pre-colonial lingua franca of the Cross River region (Miller 2005). With the help of both E´ kpe` and Abakua´ leaders, I have examined relationships between the musical practices of West African E´ kpe`, Cuban Abakua´, as well as Cuban migrants to the United States whose commercial recordings have evoked West African places and events historically relevant to Abakua´, meanwhile contribut- ing to the evolution of North American jazz. Keywords: Abakua´; Calabar; Cross River region; Cuba; E´ kpe` leopard society; jazz; Nigeria The E´ kpe` Imperium The leopard society of the Cross River basin is known variously as E´ kpe`, Ngbe`, and Obe`, after local terms for ‘leopard’.1 Being among the most diverse linguistic regions in the world, to simplify, I will hereafter use E´ kpe`, an E` f`kı term, the most common in the existing literature. -
Final Nominations List
NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. FINAL NOMINATIONS LIST THE NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. Final Nominations List 60th Annual GRAMMY® Awards For recordings released during the Eligibility Year October 1, 2016 through September 30, 2017 Note: More or less than 5 nominations in a category is the result of ties. General Field Category 1 Category 2 Record Of The Year Album Of The Year Award to the Artist and to the Producer(s), Recording Engineer(s) Award to Artist(s) and to Featured Artist(s), Songwriter(s) of new material, and/or Mixer(s) and mastering engineer(s), if other than the artist. Producer(s), Recording Engineer(s), Mixer(s) and Mastering Engineer(s) credited with at least 33% playing time of the album, if other than Artist. 1. REDBONE Childish Gambino 1. "AWAKEN, MY LOVE!" Childish Gambino Donald Glover & Ludwig Goransson, producers; Donald Donald Glover & Ludwig Goransson, producers; Bryan Carrigan, Glover, Ludwig Goransson, Riley Mackin & Ruben Rivera, Chris Fogel, Donald Glover, Ludwig Goransson, Riley Mackin & engineers/mixers; Bernie Grundman, mastering engineer Ruben Rivera, engineers/mixers; Donald Glover & Ludwig 2. DESPACITO Goransson, songwriters; Bernie Grundman, mastering engineer Luis Fonsi & Daddy Yankee Featuring Justin Bieber 2. 4:44 Josh Gudwin, Mauricio Rengifo & Andrés Torres, JAY-Z producers; Josh Gudwin, Jaycen Joshua, Chris ‘TEK’ JAY-Z & No I.D., producers; Jimmy Douglass & Gimel "Young O’Ryan, Mauricio Rengifo, Juan G Rivera “Gaby Music,” Guru" Keaton, engineers/mixers; Shawn Carter & Dion Wilson, Luis “Salda” Saldarriaga & Andrés Torres, songwriters; Dave Kutch, mastering engineer engineers/mixers; Dave Kutch, mastering engineer 3. -
Bc Salsa: Identity,Musicianshipand Performance in Vancouver’Safro-Latinorchestras
BC SALSA: IDENTITY, MUSICIANSHIP AND PERFORMANCE IN VANCOUVER’S AFRO-LATIN ORCHESTRAS by MALCOLM Al KEN B.Mus., The University of British Columbia, 2004 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2009 © Malcolm Aiken, 2009 11 ABSTRACT For over twenty-five years, musicians, dancers and singers of Afro-Latin music have maintained an active presence in the culturally diverse music scene of Vancouver, BC. During this time, the music performed and created by this group of artists has undergone dynamic changes in sound and function, reflecting a new transcultural music identity. This music, commonly referred to as salsa, is being created, performed and transformed by musicians of all backgrounds and social classes. Local composers are incorporating a variety of musical influences into their music and assimilating elements of the city’s music cultures. Today, an eclectic mix of musicians in Vancouver are creating new forms of music rooted in the Afro-Latin music traditions, and are establishing a unique contemporary musical scene. At the forefront of salsa’s local history are the Afro-Latin dance bands prominent in the city’s dance community. Their impact on the musicians and local music culture has been paramount and pivotal to the exposure of salsa to a mainstream Canadian audience. One prominent factor in the continued growth of the music has been the influence of the many non—Latino musicians who have assimilated into the salsa community as performers. Their musical and cultural influences have helped push the music in new directions and maintained the music’s relevance within the wider arts community. -
The Muse of Fire: Liberty and War Songs As a Source of American History
3 7^ A'£?/</ THE MUSE OF FIRE: LIBERTY AND WAR SONGS AS A SOURCE OF AMERICAN HISTORY DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By Kent Adam Bowman, B.A., M.A Denton, Texas August, 1984 Bowman, Kent Adam, The Muse of Fire; Liberty and War Songs as a Source of American History. Doctor of Philosophy (History), August, 1984, 337 pp., bibliography, 135 titles. The development of American liberty and war songs from a few themes during the pre-Revolutionary period to a distinct form of American popular music in the Civil War period reflects the growth of many aspects of American culture and thought. This study therefore treats as historical documents the songs published in newspapers, broadsides, and songbooks during the period from 1765 to 1865. Chapter One briefly summarizes the development of American popular music before 1765 and provides other introductory material. Chapter Two examines the origin and development of the first liberty-song themes in the period from 1765 to 1775. Chapters Three and Four cover songs written during the American Revolution. Chapter Three describes battle songs, emphasizing the use of humor, and Chapter Four examines the figures treated in the war song. Chapter Five covers the War of 1812, concentrating on the naval song, and describes the first use of dialect in the American war song. Chapter Six covers the Mexican War (1846-1848) and includes discussion of the aggressive American attitude toward the war as evidenced in song. -
Sammy Garcia
Sammy Garcia In the world of the tropical music, Sammy is counted as one of the very best amongst such legendary performers as: Conjunto Clásico, Willie Colón, Gilberto Santa Rosa, Tito Nieves, Puerto Rican Power, Celia Cruz, Cheo Feliciano, Víctor Manuell, Olga Tañón, Elvis Crespo y Ricardo Arjona, just to name a few. His professional experiences during his musical career, afforded him the opportunity to play in such great venues and events such as: Concerts in the Madison Square Garden, Aruba Jazz Festival, Feria de Calí, Festival de la Calle Ocho, New Orleans Jazz Festival, Carnaval de Panamá, Día Nacional de la Salsa y Congreso Mundial de la Salsa, among others. They serve as a strong center for his artistic foundation, entertaining diverse audiences around the world. His artistic path has been split between being a musician and a director and this immersion into the craft has led him to be an innovator in the world of modern salsa music. This innovative vision is truly realized in his latest project “El Sabor De Puerto Rico”, where under the direction of Sammy, never loses the “swing” and “cadence” of the traditional salsa music. Credits 2013 Me Llamaré Tuyo Victor Manuelle Congas 2013 Party & Dance Limi-T 21 Congas Gilberto Santa 2012 Gilberto Santa Rosa Bongos, Congas Rosa 2011 Aquí Estoy Yo Milly Quezada Congas Bongos, Congas, 2011 El Amor Existe Jerry Rivera Guiro, Maracas 2011 Mi Ultima Grabación Tito Nieves Congas ¡Sonó, Sonó…Tite Tite Curet 2011 Conga Drum Curet! Alonso De Andy Montañez Al 2010 Andy Montañez Congas Combo Congas, -
The Latin Academy of Recording Arts & Sciences
Page | 1 THE LATIN ACADEMY OF RECORDING ARTS & SCIENCES, INC. Final Nominations List 18th Annual Latin GRAMMY® Awards For recordings released during the Eligibility Year July 1, 2016 through May 31, 2017 General Field Category 1 Record Of The Year Grabación del Año Gravação do Ano Award to the Artist(s), Album Producer(s), Recording Engineer(s), and/or Mixer(s), and Mastering Engineer(s) if other than the artist. Premio al Artista(s), Productor(es) del Álbum, Ingeniero(s) de Grabación, Ingenieros de Mezcla y Masterizadores si es(son) otro(s) diferente(s) al artista. Prêmio ao(s) Artista(s), Produtor(es) do Álbum, Engenheiro(s) de Gravação Mixagem e Masterização, se outro que não o próprio Artista. • La Flor De La Canela Rubén Blades Manuel Garrido-Lecca, Edu Olivé Gomez, Mabela Martínez & Susana Roca Rey, record producers; Edu Olivé Gomez, Ignacio Molino & Oscar Martín Santisteban Cole, recording engineers; Keith Morrison, mixer; Andrés Mayo, mastering engineer Track from: A Chabuca [Sonidos Del Mundo] • El Surco Jorge Drexler Manuel Garrido Lecca, Edu Olivé Gomez, Mabela Martínez & Susana Roca Rey, record producers; Carles Campón, Edu Olivé Gomez & Oscar Martin Santisteban Cole, recording engineers; Keith Morrison, mixer; Andrés Mayo, mastering engineer Track from: A Chabuca [Sonidos Del Mundo] • Quiero Que Vuelvas Alejandro Fernández Aureo Baqueiro, record producer; Aureo Baqueiro, recording engineer; Rafa Sardina, mixer; Dave Kutch, mastering engineer [Universal Music Latino] • Despacito Luis Fonsi Featuring Daddy Yankee Mauricio Rengifo -
Kelly, J.J..Pdf
THE MUSE DONS KHAKI: AMER ICAN SONGS AND MUSIC OF WORLD WAR I by Jacquelin Joan .~~lly Thesis submitted to the Faculty of the Graduate School of the University of Maryland in partial fulfillment of the requirements for the degree of :Master of Arts 1963 ( . I APPROVAL SHEET Title of Thesis: The Muse Dons Khaki: American Songs and Music of World War I Name of Candidate: Jacquelin Master of Date Approved: ojd1 / b J ABSTRACT Title of Thesis: The Muse Dons Khaki: American Songs and Music of World War I Jacquelin Joan Kelly, Master of Arts, 1963 Thesis directed by: Gordon w. Prange, Professor Department of History During the years 1917 and 1918 the United States participated in a 11 war to end all wars. 11 During the conflict the government deliberately enlisted the power of song both at home and on the fighting front to help in the great task of winning the war. The idea of organized singing in the training of the U. s. Arrrry was comparatively new at the time America entered Wor ld War I, but it soon came to be recognized as an integral part of the training itself. The government encouraged singing in the army both on marches and in leisure-time groups because it contributed substantially to the enjoyment, contentment and efficiency of the soldier. The ballads, however, that eased tired muscles after a long days march and boosted morale after a day of heavy fighting were not government sponsored songs, but parodies and GI folk songs that the Sammies themselves composed.