Genres Within Meta-Genres

Total Page:16

File Type:pdf, Size:1020Kb

Genres Within Meta-Genres Meta-Genre Genres Adult Alternative/AA Pop Rock Adult Alternative Adult Alternative Pop Rock Adult Contemporary Adult Contemporary Easy Listening MOR Album Oriented/Arena Rock Album Rock AOR Arena Rock Alternative Alternative Alternative Dance/Hip-Hop Alternative Dance Alternative Hip-Hop Alternative Pop Rock Alternative Pop Rock Alternative Rock (+) Alternative Country Rock Alternative Rock Alternative/Indie Rock AM/Sunshine Pop AM Pop Sunshine Pop Ambient Ambient Americana/Roots Rock Americana Roots Rock Art Pop Art Pop Art Punk Art Punk Art Rock Art Rock Avant/Experimental/Leftfield/Post Modern Avant-Garde Avant-Garde Jazz Avant-Rock Experimental Experimental Synthpop Leftfield Post-Rock Postmodern Baroque Pop Baroque Pop Big Band Big Band Big Beat/Pop Beat Beat Pop Big Beat Blues Rock Blues Rock Blues/Classic Female Blues Blues Classic Female Blues Bop (+) Bebop Bop Hard Bop Post-Bop Celtic (+) Celtic Celtic Punk Celtic Rock Pipe and Drum Children's Music Children's Music Classic/Traditional Pop Classic Pop Popular Standards Traditional Pop Traditional Pop Music Classical Classical Comedy/Novelty Comedy Comedy Rock Holiday Music Comedy Cool/West Coast Jazz Cool Jazz West Coast Jazz Country Rock Country Rock Country/Country Pop/Alternative Country Alternative Country Country Country Folk Country Pop Dance Pop Dance Pop Dance-Pop Dance/Rock (+) Club/Dance Dance Dance Rock Dance-Rock Freestyle Rock/Dance Disco (+) Disco Soul Disco Dixieland/Early Jazz/Ragtime Dixieland Early Jazz Ragtime Dream/Sophisti -Pop Dream Pop Sophisti-pop Electronic (+) Electro Electroclash Electronic Electronic Music Electronica Folktronica Indietronica Experimental Rock Experimental Rock Proto-Punk Folk (+) Alternative Folk Contemporary Folk Folk Folk Music Folk Pop Folk Punk Folk Punk Folk Rock Folk Rock Folk-Rock Funk (+) Free Funk Funk Funk Metal Funk Rock Funk Soul Jazz-Funk Pop-Funk Soul Funk Fusion/Jazz Fusion Crossover Jazz Fusion Jazz Fusion Glam Rock Glam Rock Gothic Rock Gothic Rock Grunge Grunge Post-Grunge Hard Rock/Heavy-Alternative Metal Alternative Metal Glam Metal Hard Rock Heavy Metal Heartland Rock Heartland Rock House/Acid House Acid House House Indie Pop Indie Pop Indie Rock Indie Rock Industrial Industrial Industrial Metal Industrial Rock Post-Industrial Instrumental (+) Instrumental Instrumental Pop Instrumental Rock Jazz (+) Bossa Nova Free Jazz Jazz Mainstream Jazz Soul Jazz Jazz Rock Jazz Rock Lounge/Rave Lounge Rave Madchester Madchester Mod Revival Mod Revival Modal Jazz Modal Jazz Music for Film and Stage Cast Recordings Film Music Film Score Musical Theatre Original Score Score Show Tunes Soundtrack Spy Music New Age New Age New Wave/Darkwave (+) Darkwave Neue Deustche Welle New Romantic New Wave Orchestral/Symphonic (+) Orchestral Orchestral Jazz Symphonic Rock Pop (+) Brill Building Pop British Invasion Britpop Europop Merseybeat Pop Pop Rock (+) Contemporary Pop Rock Pop Rock Post -Disco Post-Disco Post-Punk/Revival Post-Punk Post-Punk Revival Power/Jangle Pop Jangle Pop Power Pop Pub Rock Progressive Jazz Progressive Jazz Progressive Rock Progressive Rock Psychedelic Pop/Neopsychedelia Neo-psychedelia Psychedelic Pop Psychedelic/Acid Rock Acid Rock Psychedelic Rock Punk (+) Dance-Punk Garage Punk Hardcore Punk Punk Punk Rock Rap/Hip -Hop Downtempo Hip-Hop Hip-Hop/Rap Jazz Rap Old School Hip Hop Pop hip-hop Rap Rap Rock Trip Hop Reggae (+) Calypso Ragga Reggae Roots Reggae Rhythm and blues (+) Contemporary R&B Gospel R&B Rhythm and blues Rock & roll Psychobilly Rock and roll Rock'n'roll Rockabilly Rock (+) Australian Rock Classic Rock Garage Rock Latin Rock Piano Rock Rock Shoegazing Shoegazing Singer/Songwriter Contemporary Singer/Songwriter Singer/Songwriter Ska/Two Tone 2 Tone Pop/Ska Ska Ska Punk Ska/Pop Ska/Two Tone Smooth Jazz/Nu Jazz/Quiet Storm Nu Jazz Quiet Storm Smooth Jazz Soft Rock Soft Rock Soul (+) Chicago Soul Motown Neo soul Philadelphia Soul Pop Soul Psychedelic Soul Soul Southern Rock Southern Rock Surf Rock Surf Rock Swing (+) Retro Swing Swing Synthpop Synthpop Third Stream [Jazz] Third Stream [Jazz] Vocal/Vocal Jazz/A Capella A Capella Doo-Wop Vocal Vocal Jazz White/Blue -Eyed Soul Blue-Eyed Soul White Soul World Music/Worldbeat World Music Worldbeat .
Recommended publications
  • Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (Guest Post)*
    “Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (guest post)* Chano Pozo and Dizzy Gillespie The jazz standard “Manteca” was the product of a collaboration between Charles Birks “Dizzy” Gillespie and Cuban musician, composer and dancer Luciano (Chano) Pozo González. “Manteca” signified one of the beginning steps on the road from Afro-Cuban rhythms to Latin jazz. In the years leading up to 1940, Cuban rhythms and melodies migrated to the United States, while, simultaneously, the sounds of American jazz traveled across the Caribbean. Musicians and audiences acquainted themselves with each other’s musical idioms as they played and danced to rhumba, conga and big-band swing. Anthropologist, dancer and choreographer Katherine Dunham was instrumental in bringing several Cuban drummers who performed in authentic style with her dance troupe in New York in the mid-1940s. All this laid the groundwork for the fusion of jazz and Afro-Cuban music that was to occur in New York City in the 1940s, which brought in a completely new musical form to enthusiastic audiences of all kinds. This coming fusion was “in the air.” A brash young group of artists looking to push jazz in fresh directions began to experiment with a radical new approach. Often playing at speeds beyond the skills of most performers, the new sound, “bebop,” became the proving ground for young New York jazz musicians. One of them, “Dizzy” Gillespie, was destined to become a major force in the development of Afro-Cuban or Latin jazz. Gillespie was interested in the complex rhythms played by Cuban orchestras in New York, in particular the hot dance mixture of jazz with Afro-Cuban sounds presented in the early 1940s by Mario Bauzá and Machito’s Afrocubans Orchestra which included singer Graciela’s balmy ballads.
    [Show full text]
  • Adult Contemporary Radio at the End of the Twentieth Century
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • 8LJAIJ/1 Victoires Mull Changes 6 New Italian Dance Chart 7 Special: Jazz10 Off the Record26
    Goddard Out At Kiss 4 GEMA Fees Up12% 5 8LJAIJ/1 Victoires Mull Changes 6 New Italian Dance Chart 7 Special: Jazz10 Off The Record26 Europe's Music Radio Newsweekly . Volume 8 . Issue 24 . June 15, 1991. 3, US$ 5, ECU 4 New Feature: RESEARCH BIDDING POOL GROWS M&M Debuts Nielsen To Bid For Jazz Page Jazz followers get a double treat Radio Contract this week in M&M, as we high- our media research resources here light the world of jazz music (see by Hugh Fielder page11)andlauncha new and we have also submitted an monthly page covering the jazz US broadcast research firm A. C. application for the JICNAR read- radio and record industries (see Nielsen has thrown its hat into ership contract." Last year the page 10). the ring for the new joint inde- company vied unsuccessfully for Coordinated by M&M chart pendent radio/BBC audience the BARB TV audience survey. reports manager and jazzafi- research contract (RAJAR). Nielsen joins a growing list of cionado Terry Berne, this new Nielsen UK media sales exec- biddersfortheproject. A monthly page will include airplay utive Lisa Rudman confirms, spokesperson for RSGB, which reports from jazz stations/presen- "We shall definitely be in the run- currently holds the JICRAR con - ters, Top 20 album sales,the THE BEST OF FRIENDS - Old friends Cliff Richard and popular ning. We have been building up (continueson page26) Most -PlayedAlbums,reviews, Yugoslav singer Alexander Mezek relax with Phonogram executives after station/presenterprofiles,label performing their single "To A Friend" (Mercury) on Germany's most popu- marketing/promotion activities, lar game show "Wetten Dass".
    [Show full text]
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • Bob Dylan Performs “It's Alright, Ma (I'm Only Bleeding),” 1964–2009
    Volume 19, Number 4, December 2013 Copyright © 2013 Society for Music Theory A Foreign Sound to Your Ear: Bob Dylan Performs “It’s Alright, Ma (I’m Only Bleeding),” 1964–2009 * Steven Rings NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.13.19.4/mto.13.19.4.rings.php KEYWORDS: Bob Dylan, performance, analysis, genre, improvisation, voice, schema, code ABSTRACT: This article presents a “longitudinal” study of Bob Dylan’s performances of the song “It’s Alright, Ma (I’m Only Bleeding)” over a 45-year period, from 1964 until 2009. The song makes for a vivid case study in Dylanesque reinvention: over nearly 800 performances, Dylan has played it solo and with a band (acoustic and electric); in five different keys; in diverse meters and tempos; and in arrangements that index a dizzying array of genres (folk, blues, country, rockabilly, soul, arena rock, etc.). This is to say nothing of the countless performative inflections in each evening’s rendering, especially in Dylan’s singing, which varies widely as regards phrasing, rhythm, pitch, articulation, and timbre. How can music theorists engage analytically with such a moving target, and what insights into Dylan’s music and its meanings might such a study reveal? The present article proposes one set of answers to these questions. First, by deploying a range of analytical techniques—from spectrographic analysis to schema theory—it demonstrates that the analytical challenges raised by Dylan’s performances are not as insurmountable as they might at first appear, especially when approached with a strategic and flexible methodological pluralism.
    [Show full text]
  • Rock in the Reservation: Songs from the Leningrad Rock Club 1981-86 (1St Edition)
    R O C K i n t h e R E S E R V A T I O N Songs from the Leningrad Rock Club 1981-86 Yngvar Bordewich Steinholt Rock in the Reservation: Songs from the Leningrad Rock Club 1981-86 (1st edition). (text, 2004) Yngvar B. Steinholt. New York and Bergen, Mass Media Music Scholars’ Press, Inc. viii + 230 pages + 14 photo pages. Delivered in pdf format for printing in March 2005. ISBN 0-9701684-3-8 Yngvar Bordewich Steinholt (b. 1969) currently teaches Russian Cultural History at the Department of Russian Studies, Bergen University (http://www.hf.uib.no/i/russisk/steinholt). The text is a revised and corrected version of the identically entitled doctoral thesis, publicly defended on 12. November 2004 at the Humanistics Faculty, Bergen University, in partial fulfilment of the Doctor Artium degree. Opponents were Associate Professor Finn Sivert Nielsen, Institute of Anthropology, Copenhagen University, and Professor Stan Hawkins, Institute of Musicology, Oslo University. The pagination, numbering, format, size, and page layout of the original thesis do not correspond to the present edition. Photographs by Andrei ‘Villi’ Usov ( A. Usov) are used with kind permission. Cover illustrations by Nikolai Kopeikin were made exclusively for RiR. Published by Mass Media Music Scholars’ Press, Inc. 401 West End Avenue # 3B New York, NY 10024 USA Preface i Acknowledgements This study has been completed with the generous financial support of The Research Council of Norway (Norges Forskningsråd). It was conducted at the Department of Russian Studies in the friendly atmosphere of the Institute of Classical Philology, Religion and Russian Studies (IKRR), Bergen University.
    [Show full text]
  • (Sound Off Live 2013 Winner) Indie Soul Meets Jazzy Blues
    Artscape Entertainment Resource Guide 2013 Band Name Genre Website Email Phone Number Allie & The Cats (Sound Off Live 2013 Winner) Indie Soul meets Jazzy Blues http://www.alliemariemusic.com [email protected] 4109916973 Balti Mare Balkan Gypsy Brass http://www.facebook.com/baltimare [email protected] 4109633799 Basement Instinct (Sound Off Live 2013 Winner) Alternative Rock https://www.facebook.com/basementinstinctband [email protected] 4437038941 Bearstronaut pop http://bearstronaut.com [email protected] 8609124857 Big Sur Alternative Melodic Rock http://www.bigsurrock.com [email protected] 3015931778 Billy Wilkins Jazz/Rock https://soundcloud.com/billy-wilkins-1 [email protected] 4103696360 Blizz Hip Hop http://www.hulkshare.com/Blizz [email protected] 4439860731 Boozey R&B and Hip Hop http://Boozeyonline.com [email protected] Braunsy Brooks & Worship Kulture Christian http://www.bbworshipkulture.com [email protected] 8284554010 Brittanie Thomas Music Soul/R&B http://www.brittaniethomas.com [email protected] 4433608985 Brothers Kardell Experimental electronic pop metal hip-hop http://www.soundcloud.com/brotherskardell [email protected] 2022862623 Buddah Bass Hip-Hop/Pop http://Buddahbass.bandcamp.com [email protected] 3365779559 Bumpin Uglies Reggae/Ska http://www.bumpinugliesmusic.com [email protected] 4102793613 Children of a Vivid Eden Alternative rock http://www.facebook.com/c.o.v.e.rock [email protected] 4436324130 Chris Reynolds and
    [Show full text]
  • Recent Critical Praise for My Brightest Diamond's This Is My Hand
    Recent critical praise for My Brightest Diamond’s This Is My Hand Favorite Songs of 2014 “‘Pressure’: This baroque pop gem opens with drum corps and woodwinds, tacks on a tribal rhythm breakdown and just goes for it. All the way.” “…one of the most powerful and dramatic voices of the past decade.” “…an ability to cultivate intimacy through flawless, complex production with a beating heart.” “As a musician, Worden (who performs as My Brightest Diamond) builds her songs deliberately and impeccably…words are painted, sounds are sculpted, and the nature of Worden’s voice itself adds dimension—more than a single vocalist usually can. Her wholly enveloping, finely tuned alto sounds by turns forceful, vulnerable, cooing, playful, and endlessly emotive.” “…has a feeling for both the grandeur and the grain, building every sweeping gesture in her music out of a swarm of small details.” The Best of 2014 “…added to her smart, savvy chamber pop the influence of funk and marching bands. Her flawless voice pecks, jabs and floats above a world of rhythm that gives the new music its motion and undeniable heartbeat.” “At times, This Is My Hand all but commands listeners to dance.” “On her new album, This Is My Hand, she continues to reach far and wide with great success, adding marching-band rhythms and funky horns to her mix.” “…sounds like a modern-day Nina Simone…” “…This is My Hand works on a visceral level, conjuring Worden’s intended image of tribal, fireside collaboration through a rich diversity of texture, detail, and tone.” “…successful exercise in percussive, jagged art-pop that explores themes of self-acceptance, sensuality, and community.” “...unique and oddly beautiful.” “…presents an invigorating progression of Worden’s sonic palette…” #3: MBE Producer Ariana Morgenstern’s Top Albums of 2014 “…gorgeous new album…” “This Is My Hand is an album I would recommend to anyone—for exactly all the reasons that it’s hard to write about.
    [Show full text]
  • Jazz and Radio in the United States: Mediation, Genre, and Patronage
    Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition.
    [Show full text]
  • MTO 17.3: Osborn, Understanding Through-Composition
    KU ScholarWorks | http://kuscholarworks.ku.edu Please share your stories about how Open Access to this article benefits you. Understanding Through-Composition in Post- Rock, Math-Metal, and other Post-Millennial Rock Genres by Brad Osborn 2011 This is the published version of the article, made available with the permission of the publisher. The original published version can be found at the link below. Osborn, Brad. 2011. “Understanding Through-Composition in Post- Rock, Math-Metal, and other Post-Millennial Rock Genres.” Music Theory Online 17, no. 3 Published version: http://www.mtosmt.org/issues/mto.11.17.3/ mto.11.17.3.osborn.pdf Terms of Use: http://www2.ku.edu/~scholar/docs/license.shtml This work has been made available by the University of Kansas Libraries’ Office of Scholarly Communication and Copyright. Volume 17, Number 3, October 2011 Copyright © 2011 Society for Music Theory Understanding Through-Composition in Post-Rock, Math-Metal, and other Post-Millennial Rock Genres (1) Brad Osborn NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.11.17.3/mto.11.17.3.osborn.php KEYWORDS: form, through-composition, rock, experimental rock, post-millennial rock, art rock, post-rock, math-metal, progressive rock, Radiohead, Animal Collective, The Beatles ABSTRACT: Since the dawn of experimental rock’s second coming in the new millennium, experimental artists have begun distancing themselves from Top-40 artists through formal structures that eschew recapitulatory verse/chorus conventions altogether. In order to understand the correlation between genre and form more thoroughly, this paper provides a taxonomic approach to through-composition in several post-millennial experimental rock genres including post-rock, math-metal, art rock, and neo-prog.
    [Show full text]
  • Music Styles
    Music Styles OK guys…here it is….Your research results for the styles of music which we have been investigating. Good work!!! Bluegrass Description: acoustic, fast paced, upbeat mixture of country, gospel, and blues. Origin: US, mid 1940’s Artists: Earl Scruggs, Bill Monroe, Riki Skaggs Instruments: Banjo, Fiddle, mandolin, guitar, dobro, ukeleles, harmonicas, and dulcimers Blues Description: an emotional, vocal music based on “blues notes” Origin: Southern states of USA, late 1890’s Artists: BB King, Muddy Waters, Jimi Hendrix, Eric Clapton Instruments: Guitar, harmonica(blues harp), bass guitar, drums, saxophone, trumpet Celtic Rock Description: mixture of celtic or folk with rock, resulting in fast, driving, upbeat tempo Origin: Ireland and Scotland, 1970’s. Artists: Dropkick Murphy’s, Flogging Molly, The Killdares Instruments: bagpipes, distorted guitar, drums, fiddle, tin whistle, accordion Christian Rock Description: style which resembles rock music with a focus on spiritual lyrics Origin: USA, 1960’s Artists: Casting Crowns, Jeremy Camp, Stryper Inatruments: guitars, drums, bass, keyboards, vocals Classical Description: style which includes several sub genres, such as, opera, symphony, choral, vocal, and instrumental. Origin: 9th century, Europe Artists: Beethoven, Mozart, Tchaikovsky Instruments: all orchestral instruments Classic Rock Description: hit rock songs from mid 60’s to early 80’s. Among best selling , and most popular recordings in the world. Origins: USA, UK Artists: The Beatles, TheWho, Pink Floyd Inatruments: Guitar, drums, keyboards, bass Comedy Rock Description: rock music with humorous lyrics Origins: USA, 1980’s Artists: Weird Al Yankovic, Adam Sandler, Arrogant Worms Instruments: guitar, drums, bass, keyboards, vocals Country Description: popular style of music which blends several other popular styles of music such as, blues, gospel, folk, and rock.
    [Show full text]
  • “Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in Partial Fulfillment Of
    “Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Dana DeVlieger, B.A., M.A. Graduate Program in Music The Ohio State University 2016 Thesis Committee: Graeme M. Boone, Advisor Johanna Devaney Anna Gawboy Copyright by Dana Lauren DeVlieger 2016 Abstract “Whiskey in the Jar” is a traditional Irish song that is performed by musicians from many different musical genres. However, because there are influential recordings of the song performed in different styles, from folk to punk to metal, one begins to wonder what the role of the song’s Irish heritage is and whether or not it retains a sense of Irish identity in different iterations. The current project examines a corpus of 398 recordings of “Whiskey in the Jar” by artists from all over the world. By analyzing acoustic markers of Irishness, for example an Irish accent, as well as markers of other musical traditions, this study aims explores the different ways that the song has been performed and discusses the possible presence of an “Irish feel” on recordings that do not sound overtly Irish. ii Dedication Dedicated to my grandfather, Edward Blake, for instilling in our family a love of Irish music and a pride in our heritage iii Acknowledgments I would like to thank my advisor, Graeme Boone, for showing great and enthusiasm for this project and for offering advice and support throughout the process. I would also like to thank Johanna Devaney and Anna Gawboy for their valuable insight and ideas for future directions and ways to improve.
    [Show full text]