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Defining Music As an Emotional Catalyst Through a Sociological Study of Emotions, Gender and Culture
Western Michigan University ScholarWorks at WMU Dissertations Graduate College 12-2011 All I Am: Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture Adrienne M. Trier-Bieniek Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the Musicology Commons, Music Therapy Commons, and the Sociology Commons Recommended Citation Trier-Bieniek, Adrienne M., "All I Am: Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture" (2011). Dissertations. 328. https://scholarworks.wmich.edu/dissertations/328 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. "ALL I AM": DEFINING MUSIC AS AN EMOTIONAL CATALYST THROUGH A SOCIOLOGICAL STUDY OF EMOTIONS, GENDER AND CULTURE. by Adrienne M. Trier-Bieniek A Dissertation Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Department of Sociology Advisor: Angela M. Moe, Ph.D. Western Michigan University Kalamazoo, Michigan April 2011 "ALL I AM": DEFINING MUSIC AS AN EMOTIONAL CATALYST THROUGH A SOCIOLOGICAL STUDY OF EMOTIONS, GENDER AND CULTURE Adrienne M. Trier-Bieniek, Ph.D. Western Michigan University, 2011 This dissertation, '"All I Am': Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture", is based in the sociology of emotions, gender and culture and guided by symbolic interactionist and feminist standpoint theory. -
Mediated Music Makers. Constructing Author Images in Popular Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Laura Ahonen Mediated music makers Constructing author images in popular music Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XII, on the 10th of November, 2007 at 10 o’clock. Laura Ahonen Mediated music makers Constructing author images in popular music Finnish Society for Ethnomusicology Publ. 16. © Laura Ahonen Layout: Tiina Kaarela, Federation of Finnish Learned Societies ISBN 978-952-99945-0-2 (paperback) ISBN 978-952-10-4117-4 (PDF) Finnish Society for Ethnomusicology Publ. 16. ISSN 0785-2746. Contents Acknowledgements. 9 INTRODUCTION – UNRAVELLING MUSICAL AUTHORSHIP. 11 Background – On authorship in popular music. 13 Underlying themes and leading ideas – The author and the work. 15 Theoretical framework – Constructing the image. 17 Specifying the image types – Presented, mediated, compiled. 18 Research material – Media texts and online sources . 22 Methodology – Social constructions and discursive readings. 24 Context and focus – Defining the object of study. 26 Research questions, aims and execution – On the work at hand. 28 I STARRING THE AUTHOR – IN THE SPOTLIGHT AND UNDERGROUND . 31 1. The author effect – Tracking down the source. .32 The author as the point of origin. 32 Authoring identities and celebrity signs. 33 Tracing back the Romantic impact . 35 Leading the way – The case of Björk . 37 Media texts and present-day myths. .39 Pieces of stardom. .40 Single authors with distinct features . 42 Between nature and technology . 45 The taskmaster and her crew. -
N° Artiste Titre Formatdate Modiftaille 14152 Paul Revere & the Raiders Hungry Kar 2001 42 277 14153 Paul Severs Ik Ben
N° Artiste Titre FormatDate modifTaille 14152 Paul Revere & The Raiders Hungry kar 2001 42 277 14153 Paul Severs Ik Ben Verliefd Op Jou kar 2004 48 860 14154 Paul Simon A Hazy Shade Of Winter kar 1995 18 008 14155 Me And Julio Down By The Schoolyard kar 2001 41 290 14156 You Can Call Me Al kar 1997 83 142 14157 You Can Call Me Al mid 2011 24 148 14158 Paul Stookey I Dig Rock And Roll Music kar 2001 33 078 14159 The Wedding Song kar 2001 24 169 14160 Paul Weller Remember How We Started kar 2000 33 912 14161 Paul Young Come Back And Stay kar 2001 51 343 14162 Every Time You Go Away mid 2011 48 081 14163 Everytime You Go Away (2) kar 1998 50 169 14164 Everytime You Go Away kar 1996 41 586 14165 Hope In A Hopeless World kar 1998 60 548 14166 Love Is In The Air kar 1996 49 410 14167 What Becomes Of The Broken Hearted kar 2001 37 672 14168 Wherever I Lay My Hat (That's My Home) kar 1999 40 481 14169 Paula Abdul Blowing Kisses In The Wind kar 2011 46 676 14170 Blowing Kisses In The Wind mid 2011 42 329 14171 Forever Your Girl mid 2011 30 756 14172 Opposites Attract mid 2011 64 682 14173 Rush Rush mid 2011 26 932 14174 Straight Up kar 1994 21 499 14175 Straight Up mid 2011 17 641 14176 Vibeology mid 2011 86 966 14177 Paula Cole Where Have All The Cowboys Gone kar 1998 50 961 14178 Pavarotti Carreras Domingo You'll Never Walk Alone kar 2000 18 439 14179 PD3 Does Anybody Really Know What Time It Is kar 1998 45 496 14180 Peaches Presidents Of The USA kar 2001 33 268 14181 Pearl Jam Alive mid 2007 71 994 14182 Animal mid 2007 17 607 14183 Better -
Women Singer-Songwriters As Exemplary Actors: the Music of Rape and Domestic Violence
Women Singer-Songwriters as Exemplary Actors: The Music of Rape and Domestic Violence KATHANNE W. GREENE At the 2016 Oscars, Lady Gaga, joined onstage by fifty rape survivors, performed the song “Til It Happens to You.” The Oscar-nominated song by Lady Gaga and Diane Warren was written for The Hunting Ground, a documentary film about campus sexual assault. Over thirty-one million people viewed the Oscar performance, which brought some in the audience to tears, and the video on Vevo has received over twenty-nine million views with another twenty-eight million views on YouTube. The film, video, and performance are the result of a growing political and social movement by young high school and college women to force schools, universities, and colleges to vigorously respond to rape and sexual harassment on campus. In response to complaints filed by more and more young women, the Obama Administration and the Office of Civil Rights (OCR) in the Department Education began investigating claims that schools, colleges, and universities were not actively and adequately responding to claims of sexual assault and harassment despite passage of the Clery Act of 1990. The Clery Act requires colleges and universities to report data on crime on campus, provide support and accommodations to survivors, and establish written policies and procedures for the handling of campus crime.1 Since 2011, the OCR has expanded its efforts to address sexual assault on campuses as violations of Title IX of the Education Amendments of 1972 that prohibits sex discrimination -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Berköz, Levent Donat (2012). A gendered musicological study of the work of four leading female singer-songwriters: Laura Nyro, Joni Mitchell, Kate Bush, and Tori Amos. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1235/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] A Gendered Musicological Study of the Work of Four Leading Female Singer-Songwriters: Laura Nyro, Joni Mitchell, Kate Bush, and Tori Amos Levent Donat Berköz Thesis Submitted in Fulfilment of the Requirements for the Degree of Doctor of Philosophy City University London Centre for Music Studies June 2012 1 TABLE OF CONTENTS TABLE OF CONTENTS ………………………………………………………… 2 LIST OF FIGURES ……………………………………………………………… 5 ACKNOWLEDGEMENTS ……………………………………………………… 7 DECLARATION ………………………………………………………………… 9 ABSTRACT ……………………………………………………………………… 10 INTRODUCTION ……………………………………………………………….. 11 Aim of the thesis…………………………………………………………………. -
Embodiment, Phenomenology and Listener Receptivity of Nirvana’S in Utero
‘WE FEED OFF EACH OTHER’: EMBODIMENT, PHENOMENOLOGY AND LISTENER RECEPTIVITY OF NIRVANA’S IN UTERO Christopher Martin A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2006 Committee: Jeremy Wallach Becca Cragin Angela Nelson ii ABSTRACT Jeremy Wallach, Advisor Despite the fact that listening to recorded music is a predominant form of human interaction with music in general, music scholarship often continues to classify listening as a passive form of reception in comparison to the “activity” of actual music performance. This thesis presents the idea that music listening is actually an embodied and agentive form of reception that varies according to different listeners, their listening strategies, and other surrounding contexts. In order to provide detailed analysis of this assertion, Nirvana’s 1993 album In Utero is the primary recording that this thesis examines, arguing that the album contains specific embodied properties that ultimately allow for embodied forms of listening and responses within the musical experience. Phenomenological reasoning and scholarship from popular music studies, history, cultural studies, and other humanities fields contribute to the central argument. iii ACKNOWLEDGEMENTS I owe an oversized thank you to the following friends and family for their support: Pat and Priscilla Martin, Veronica Martin, Linda Coleson, and my colleagues in the Popular Culture department. Aaron Weinacht and Patrick Blythe earn special thanks for their continuing willingness to participate in arguments and theories that, as always, range from prescient to ridiculous. Kandace Virgin also deserves my thanks and love for patiently tolerating my stubbornness and need to constantly work ahead, as well as my other idiosyncrasies. -
The Not-So-Light Princess: Tori Amos and Samuel Adamson╎s
North Wind: A Journal of George MacDonald Studies Volume 34 Article 5 1-1-2015 The otN -So-Light Princess: Tori Amos and Samuel Adamson’s Reimagining of George MacDonald’s Classic Fairy Tale John Pennington Follow this and additional works at: http://digitalcommons.snc.edu/northwind Recommended Citation Pennington, John (2015) "The otN -So-Light Princess: Tori Amos and Samuel Adamson’s Reimagining of George MacDonald’s Classic Fairy Tale," North Wind: A Journal of George MacDonald Studies: Vol. 34 , Article 5. Available at: http://digitalcommons.snc.edu/northwind/vol34/iss1/5 This Article is brought to you for free and open access by the English at Digital Commons @ St. Norbert College. It has been accepted for inclusion in North Wind: A Journal of George MacDonald Studies by an authorized editor of Digital Commons @ St. Norbert College. For more information, please contact [email protected]. The Not-So-Light Princess: Tori Amos and Samuel Adamson’s Reimagining of George MacDonald’s Classic Fairy Tale John Pennington eorge MacDonald’s “The Light Princess” appeared in his 1864 novelG Adela Cathcart, where Mr. John Smith, to cheer up Adela (who is suffering from ennui), tells three fairy tales—“The Shadows,” “The Giant’s Heart,” and “The Light Princess.” That latter tale was eventually published in various collections of MacDonald’s fairy tales throughout his career. He included his famous essay on fantasy and fairy tales, “The Fantastic Imagination,” as a preface to an American edition of the fairy tale in 1893; that essay also appeared in an updated A Dish of Orts: Chiefly Papers on the Imagination and on Shakespeare (1893). -
New Directions from the Field PDF Version
U.S. Department of Justice Office of Justice Programs Office for Victims of Crime New Directions from the Field: Victims’ Rights and Services for the 21st Century NCJ 170600 New Directions from the Field: Victims’ Rights and Services for the 21st Century CONTENTS Foreword ii Executive Summary vii Section I: New Directions in Victims’ Rights 1 Chapter 1: Victims’ Rights 3 Section II: New Directions for Criminal and Juvenile Justice System Agencies 45 Chapter 2: Law Enforcement 47 Chapter 3: Prosecution 73 Chapter 4: Judiciary 97 Chapter 5: Corrections 119 Section III: New Directions for Victim Asssistance and Allied Professions 147 Chapter 6: New Directions for the Victim Assistance Community 149 Chapter 7: The Health Care Community 199 Chapter 8: The Mental Health Community 219 Chapter 9: The Legal Community 249 Chapter 10: The Educational Community 263 Chapter 11: The Faith Community 283 Chapter 12: The Business Community 295 Chapter 13: The News Media Community 313 Section IV: New Directions in Financial Recovery 323 Chapter 14: Crime Victim Compensation 325 Chapter 15: Restitution 355 Chapter 16: Civil Remedies 373 Section V: New Directions for Child Victims 381 Chapter 17: Child Victims 383 Section VI: New Directions in International Victim Assistance 413 Chapter 18: International Perspectives in Victim Services 415 Conclusion 429 Appendix A: Contributors to New Directions A-1 Appendix B: Staff of New Directions B-1 i New Directions from the Field: Victims’ Rights and Services for the 21st Century Foreword Fifteen years have passed -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Music Volume 1 of 2 Phono-somatics: gender, embodiment and voice in the recorded music of Tori Amos, Björk and PJ Harvey by Sarah Boak Thesis for the degree of Doctor of Philosophy October 2015 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Music Thesis for the degree of Doctor of Philosophy PHONO-SOMATICS: GENDER, EMBODIMENT AND VOICE IN THE RECORDED MUSIC OF TORI AMOS, BJÖRK AND PJ HARVEY Sarah Boak This thesis is a feminist enquiry into the relationship between gender, embodiment and voice in recorded popular music post-1990. In particular, the study focuses on the term ‘embodiment’ and defines this term in a way that moves forward from a simple understanding of representing the body in music. -
Unlocking Her Diary: the “Confessional” in U.S
Vassar College Digital Window @ Vassar Senior Capstone Projects 2020 Unlocking her diary: the “Confessional” in U.S. female singer- songwriting of the 1990s Leah Cates Vassar College Follow this and additional works at: https://digitalwindow.vassar.edu/senior_capstone Recommended Citation Cates, Leah, "Unlocking her diary: the “Confessional” in U.S. female singer-songwriting of the 1990s" (2020). Senior Capstone Projects. 967. https://digitalwindow.vassar.edu/senior_capstone/967 This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. Unlocking Her Diary: The “Confessional” in U.S. Female Singer-Songwriting of the 1990s Leah Cates Vassar College April 24, 2020 Table of Contents Introduction The Personal is Powerful: Reclaiming Relegation to the Confessional Realm Chapter 1 “Every time I see your face / I get all wet between my legs”: Revealing the Reality of Female Sexual Desire Chapter 2 “Yes, I wore a slinky red thing / Does that mean I should spread?”: Unmasking Sexual Violence and Resisting Rape Culture Chapter 3 “The child in her womb can hear the tears / That the Black man cries”: Redefining Beauty Standards and Inviting Men to Girl World Conclusion Confessional Diary as Protest Anthem: The Legacy of 1990s Female Singer-Songwriters Content Warning: This thesis discusses sexual violence, including rape, sexual assault, -
'Whatareyouonabout,Gloopy
Tuesday, November 8, 2011 THE IRISH TIMES 13 TOMORROW Rosemary Mac Cabe adds some sparkle to your winter wardrobe in Style SMALL PRINTS Then Tori Amos composed herself Tori Amos by year ■ Born in Newton, North Carolina, August 22nd, 1963 ■ Age five Started to compose instrumental pieces on piano, winning a TONY CLAYTON-LEA full scholarship to the Preparatory division of the Peabody Conservatory of Music As achild at the Peabody Conservatory, ■ Age 11 Peabody scholarship it was ingrained in Tori Amos that discontinued because of reluctance to read from sheet music and an increasing female composers didn’t have the same interest in rock and pop music ■ Age 14 Began playing in piano bars, opportunities as men. So when a chaperoned by her father, Reverend one-in-a-billion chance came her way, she Edison Amos ■ Age 21 Following several years doing couldn’t resist ... the rounds of the piano-bar circuit in the DC area, moved to Los Angeles to pursue her music career HE IS, as they say, adifferent kettle of ■ Age 25 Releases the debut album fish, altogether. For some, American YKant Tori Read from her band of the singer/songwriter/performer Tori same name; it has long been out of Amos is many things: afirebrand of circulation, with no sign of it being S individualism, atorchbearer for idiosyn- reissued crasy, abeacon of light for those wavering ■ Age 27 Releases Little Earthquakes; between independency and soul-selling. sets out her stall with songs about sexual To others, she is the oddest side of odd: the assault, identity crises, religion -
Y Kant Tori Read Y Kant Tori Read Mp3, Flac, Wma
Y Kant Tori Read Y Kant Tori Read mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Y Kant Tori Read Country: US Released: 1988 Style: Alternative Rock MP3 version RAR size: 1274 mb FLAC version RAR size: 1195 mb WMA version RAR size: 1157 mb Rating: 4.9 Votes: 343 Other Formats: VOC AUD TTA ASF AC3 MP2 MIDI Tracklist Hide Credits A1 The Big Picture 3:25 A2 Cool On Your Island 4:06 Fayth A3 4:10 Piano [Acoustic] – Kim Bullard A4 Fire On The Side 4:26 A5 Pirates 5:40 B1 Floating City 3:12 B2 Heart Attack At 23 4:58 B3 On The Boundary 3:12 B4 You Go To My Head 6:59 B5 Etienne Trilogy 4:38 B5a The Highlands Etienne B5b Drums – Vinny Coliauta* B5c Skyeboat Song (Traditional) Companies, etc. Record Company – Warner Communications Phonographic Copyright (p) – Atlantic Recording Corporation Phonographic Copyright (p) – WEA International Inc. Copyright (c) – Atlantic Recording Corporation Copyright (c) – WEA International Inc. Manufactured By – Atlantic Recording Corporation Credits Acoustic Guitar – Peter White Acoustic Guitar, Guitar – Steve Farris Artwork – Bob Defrin Backing Vocals – Ce Ce Bullard, James House, Merry Clayton, Nancy Shanks, Rick Nelson*, Robin Zander, The Valentine Brothers Backing Vocals, Keyboards [Additional] – Tori Amos Bagpipes – Devon Dickson Bass – Fernando Saunders (tracks: A3, A5, B1), Tim Landers (tracks: A1, A2, A4, B2 to B5) Bouzouki – Richard Bernard Co-producer, Keyboards, Programmed By – Kim Bullard Drums – Matt Sorum Engineer [Additional] – Caba Petcoz, Dan Nebenzal Engineer [Assistant] – Angus Davidson,