2021 Evenings Al Fresco Lineup As of May 24, 2021
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Music for the People: the Folk Music Revival
MUSIC FOR THE PEOPLE: THE FOLK MUSIC REVIVAL AND AMERICAN IDENTITY, 1930-1970 By Rachel Clare Donaldson Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in History May, 2011 Nashville, Tennessee Approved Professor Gary Gerstle Professor Sarah Igo Professor David Carlton Professor Larry Isaac Professor Ronald D. Cohen Copyright© 2011 by Rachel Clare Donaldson All Rights Reserved For Mary, Laura, Gertrude, Elizabeth And Domenica ACKNOWLEDGEMENTS I would not have been able to complete this dissertation had not been for the support of many people. Historians David Carlton, Thomas Schwartz, William Caferro, and Yoshikuni Igarashi have helped me to grow academically since my first year of graduate school. From the beginning of my research through the final edits, Katherine Crawford and Sarah Igo have provided constant intellectual and professional support. Gary Gerstle has guided every stage of this project; the time and effort he devoted to reading and editing numerous drafts and his encouragement has made the project what it is today. Through his work and friendship, Ronald Cohen has been an inspiration. The intellectual and emotional help that he provided over dinners, phone calls, and email exchanges have been invaluable. I greatly appreciate Larry Isaac and Holly McCammon for their help with the sociological work in this project. I also thank Jane Anderson, Brenda Hummel, and Heidi Welch for all their help and patience over the years. I thank the staffs at the Smithsonian Center for Folklife and Cultural Heritage, the Kentucky Library and Museum, the Archives at the University of Indiana, and the American Folklife Center at the Library of Congress (particularly Todd Harvey) for their research assistance. -
2011 – Cincinnati, OH
Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers. -
Punk Aesthetics in Independent "New Folk", 1990-2008
PUNK AESTHETICS IN INDEPENDENT "NEW FOLK", 1990-2008 John Encarnacao Student No. 10388041 Master of Arts in Humanities and Social Sciences University of Technology, Sydney 2009 ii Acknowledgements I would like to thank my supervisor Tony Mitchell for his suggestions for reading towards this thesis (particularly for pointing me towards Webb) and for his reading of, and feedback on, various drafts and nascent versions presented at conferences. Collin Chua was also very helpful during a period when Tony was on leave; thank you, Collin. Tony Mitchell and Kim Poole read the final draft of the thesis and provided some valuable and timely feedback. Cheers. Ian Collinson, Michelle Phillipov and Diana Springford each recommended readings; Zac Dadic sent some hard to find recordings to me from interstate; Andrew Khedoori offered me a show at 2SER-FM, where I learnt about some of the artists in this study, and where I had the good fortune to interview Dawn McCarthy; and Brendan Smyly and Diana Blom are valued colleagues of mine at University of Western Sydney who have consistently been up for robust discussions of research matters. Many thanks to you all. My friend Stephen Creswell’s amazing record collection has been readily available to me and has proved an invaluable resource. A hearty thanks! And most significant has been the support of my partner Zoë. Thanks and love to you for the many ways you helped to create a space where this research might take place. John Encarnacao 18 March 2009 iii Table of Contents Abstract vi I: Introduction 1 Frames -
Musikstile Quelle: Alphabetisch Geordnet Von Mukerbude
MusikStile Quelle: www.recordsale.de Alphabetisch geordnet von MukerBude - 2-Step/BritishGarage - AcidHouse - AcidJazz - AcidRock - AcidTechno - Acappella - AcousticBlues - AcousticChicagoBlues - AdultAlternative - AdultAlternativePop/Rock - AdultContemporary -Africa - AfricanJazz - Afro - Afro-Pop -AlbumRock - Alternative - AlternativeCountry - AlternativeDance - AlternativeFolk - AlternativeMetal - AlternativePop/Rock - AlternativeRap - Ambient - AmbientBreakbeat - AmbientDub - AmbientHouse - AmbientPop - AmbientTechno - Americana - AmericanPopularSong - AmericanPunk - AmericanTradRock - AmericanUnderground - AMPop Orchestral - ArenaRock - Argentina - Asia -AussieRock - Australia - Avant -Avant-Garde - Avntg - Ballads - Baroque - BaroquePop - BassMusic - Beach - BeatPoetry - BigBand - BigBeat - BlackGospel - Blaxploitation - Blue-EyedSoul -Blues - Blues-Rock - BluesRevival - Blues - Spain - Boogie Woogie - Bop - Bolero -Boogaloo - BoogieRock - BossaNova - Brazil - BrazilianJazz - BrazilianPop - BrillBuildingPop - Britain - BritishBlues - BritishDanceBands - BritishFolk - BritishFolk Rock - BritishInvasion - BritishMetal - BritishPsychedelia - BritishPunk - BritishRap - BritishTradRock - Britpop - BrokenBeat - Bubblegum - C -86 - Cabaret -Cajun - Calypso - Canada - CanterburyScene - Caribbean - CaribbeanFolk - CastRecordings -CCM -CCM - Celebrity - Celtic - Celtic - CelticFolk - CelticFusion - CelticPop - CelticRock - ChamberJazz - ChamberMusic - ChamberPop - Chile - Choral - ChicagoBlues - ChicagoSoul - Child - Children'sFolk - Christmas -
Emotion, Ethics and Intimate Spectacle in Peruvian Huayno Music
Andean Divas: Emotion, Ethics and Intimate Spectacle in Peruvian Huayno Music James Robert Butterworth Music Department Royal Holloway, University of London Thesis Submitted for the Degree of Doctor of Philosophy 2014 1 Declaration of Authorship I, James Robert Butterworth, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ________________________ Date: ________________________ 2 Abstract This thesis examines the self-fashioning and public images of star divas that perform Peruvian huayno music. These divas are both multi-authored stories about a person as well as actually existing individuals, occupying a space between myth and reality. I consider how huayno divas inhabit and perform a range of subject positions as well as how fans and detractors fashion their own sense of self in relation to such categories of experience. I argue that the ways in which divas and fans inhabit and reject different subject positions carry strong emotional and ethical implications. Combining multi-sited fieldwork in the music industry with analyses of songs, media representations and public discourses, I locate huayno divas in the context of Andean migration and attendant narratives about suffering, struggle, empowerment and success. I analyse huayno performances as intimate spectacles, which generate acts of both empathy and voyeurism towards the genre’s star performers (Chapter 2). The tales of romantic suffering and moral struggle contained in huayno songs, which provide a key source of audience engagement, are brought to life through the voices and bodies of huayno divas (Chapter 3). -
2009 Carrboro Music Festival Planning Committee Coordinator: Gerry Williams * Logan A
CArrboro MusFest valc Provided as a courtesy of The Carrboro Citizen Carrboro’s locally owned and operated Community Newspaper CArrboro Proud sponsor of the ArtsCenter-West End Theatre Stage… Mus c Carrboro native… Fest val Country Punk drummer Welcome to the twelfth annual back in the day… Carrboro Music Festival! Take a walk around town on Sunday, September 20 and enjoy Your homegrown expert a day jam-packed full of music. You can hear Hip-Hop, Country, Blues, Rock, Celtic, World Music, Bluegrass and Jazz- and all in Carrboro, Chapel Hill within the four or five blocks of downtown Carrboro. This is one and Durham Real Estate… heck of a small town! Thanks to the Mayor and the Board of Alderman for their continuing support and the various Carrboro Departments who make this possible: Recreation and Parks, Public Works, and the Police and Fire Departments. Gerry Williams 2009 Carrboro Music Festival Planning Committee Coordinator: Gerry Williams * Logan A. Carter Carrboro Recreation & Parks: Kim Andrews, Dennis Joines Volunteers: Charlie Berry, Catherine DeVine,* Tony Galiani, Michael Gowan, Jackie Your Friend in Real Estate Helvey,* Germane James, Meg McGurk, Ellen Perry, and Janet Place.* 919-418-4694 www.logancarter.com *Carrboro Music Festival founders All photos by AvA Barlow FR 9/25 NEEDTOBREATHE W/CROWFIELD AND GREEN RIVER ORDINANCE**($12/$14) SA 9/26 AN EVENING WITH THE MINUS 5, THE BASEBALL PROJECT AND THE STEVE WYNN IV PERFORMED BY SCOTT MCCAUGHEY, PETER BUCK, STEVE WYNN AND LINDA PITMON** FR 9/18 WHO’S BAD? WE 9/30 RA RA RIOT**($12/$14) -
Sooloos Collections: Advanced Guide
Sooloos Collections: Advanced Guide Sooloos Collectiions: Advanced Guide Contents Introduction ...........................................................................................................................................................3 Organising and Using a Sooloos Collection ...........................................................................................................4 Working with Sets ..................................................................................................................................................5 Organising through Naming ..................................................................................................................................7 Album Detail ....................................................................................................................................................... 11 Finding Content .................................................................................................................................................. 12 Explore ............................................................................................................................................................ 12 Search ............................................................................................................................................................. 14 Focus .............................................................................................................................................................. -
The Role of Folk Music in Traditional African Society: the Igbo Experience
Journal of Modern Education Review, ISSN 2155-7993, USA April 2014, Volume 4, No. 4, pp. 304–310 Doi: 10.15341/jmer(2155-7993)/04.04.2014/008 Academic Star Publishing Company, 2014 http://www.academicstar.us The Role of Folk Music in Traditional African Society: The Igbo Experience Nnamani Sunday Nnamani (Faculty of Humanities & Social Sciences, Federal University Ndufu-Alike Ikwo, Nigeria) Abstract: Folk music is spontaneously composed music of a race, tribe, group etc of a humble nature, orally transmitted from generation to generation with an unknown composer. The traditional Igbo society was not a literate one. We had our culture, traditions and music before the coming of the early missionaries. In the olden days, Igbo people did not derive entertainment from books rather they developed and derived joy from imaginations through oral narratives including traditional (folk) music and dance. According to Emenyonu (1978), Igbo oral tradition or folklore (oral performance) is the foundation of the traditional Igbo music and they include folksongs, folktales, proverbs, prayers including incantations, histories, legends, myths, drama, oratory and festivals. In Africa generally, music plays an important part in the lives of the people and one of the major characteristics of African music is that it has function. The various stages of the life-cycle of an individual and the life-cycles of the society are all marked with music. Key words: Igbo folk music, culture, traditions, beliefs 1. Definition Folk music is the term used to designate the traditional music of a people in contrast to the so called popular music and the serious music of concert halls and opera houses. -
Racial and Aural (Dis)Encounters in Cumbia’S Current Circulation
Twentieth-Century Music 17/1, 87–112 © Cambridge University Press 2020. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http:// creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi: 10.1017/S1478572219000380 ‘Una cosa es el indio y otra cosa es la antropología’: Racial and Aural (Dis)Encounters in Cumbia’s Current Circulation JUAN DAVID RUBIO RESTREPO Abstract This article focuses on the collaboration between Colombian black accordionist Carmelo Torres, the most renown performer of accordion cumbia, and Bogotá-based band Los Toscos, a group of aca- demically trained white-mestizo musicians. Considering Carmelo Torres y Los Toscos as represen- tative of the current state of cumbia’s global circulation and in dialogue with the growing corpus of scholarly works on the topic, this article traces how this collaboration has circulated on local, national, and transnational scales and theorizes the different discourses of music, race, and nation that emerge from it. Using recent critiques by thinkers of colour to the work of Deleuze and Guattari, I propose the idea of the racial assemblage and put it in dialogue with contributions to critical geog- raphy by Michel-Rolph Trouillot as well as current music scholarship from Latin America and the global north to build a interdisciplinary study that thinks embodied musicking in place. In a small venue in Bogotá, Colombia, a sweaty crowd dances to a mild-tempo cumbia beat. The sound booms across the room, traversing with vibrations that move across the nearly 100 bodies. -
Hijos De Los Shapis Y De the Clash. Propuesta Cultural Creativa En Lima
Debates en Sociología N° 46, 2018, pp. 81-104 ISSN 0254-9220 Hijos de Los Shapis y de The Clash. Propuesta cultural creativa en Lima Lucie Miramont* * Doctora en Antropología Social e Histórica por la Universidad Toulouse 2 Jean Jaurès (UT2J). Actualmente, es Voluntaria Cívica Internacional en el Instituto Francés de Estudios Andinos (IFEA). Fecha de recepción: 12/06/2018. Fecha de aceptación: 01/10/2018 https://doi.org/10.18800/debatesensociologia.201801.004 Debates en Sociología N° 46, 2018 Hijos de Los Shapis y de The Clash. Propuesta cultural creativa en Lima Resumen La escena musical independiente de Lima se caracteriza por ciertas posiciones políticas tanto como acerca de la cuestión de la identidad peruana y el presente artículo propone un panorama crítico de parte de esta escena alternativa1. El enfoque es el de un estudio político dentro de lo cual esta escena artística proporciona una puerta de entrada hacia reflexiones más amplias sobre dinámicas sociales. Se presentarán entonces las influencias que tienen estos artistas y cómo, nutriéndose de estas, ofrecen al público una propuesta musical inédita, comprometida e independiente. Palabras clave: cumbia peruana, punk, política, identidad, música independiente. Children of The Shapis and The Clash. Creative cultural proposal in Lima Abstract The independent musical scene of Lima encompasses political issues or refers to the Peruvian identity. This article touches on particular aspects of this alternative scene. From my standpoint, the artistic and political dimensions being very much imbricated, the study naturally leads us to look at the social dynamics at play in Peru. It intends to start from an in-depth analysis of the different influences of the artists in order to understand what inspires them to create and how their inspiration is converted into original and hard-hitting creation songs. -
2014Monterodiazrfphd(E-Thesis Final)
Rita Fiorella Montero Diaz Fusion as inclusion: A Lima upper class delusion? Music Department Royal Holloway University of London This thesis is submitted for the degree of Doctor of Philosophy 1 Declaration of Authorship I Rita Fiorella Montero Diaz hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 2 Abstract This thesis examines Peruvian popular intercultural music fusions and their impact among the white upper classes of Lima, Peru. Often antagonised, essentialised and understudied, Lima’s white upper classes have historically distanced themselves from the city’s migrant Andean/Amazonian population, whilst maintaining a relationship of hegemony. However, in the aftermath of the trauma and mass displacements of the twenty-year internal war (1980-2000) between the State and terrorist groups, certain sectors among the young upper classes have come to question their own social dominance. This study charts how certain aspects of this re-negotiation of identity and social position, and a desire for integration with wider Peruvian society, has been articulated through the medium of fusions musics. In particular, since 2005 fusion music has crystallised into a distinct genre and received a notable boom in popularity. These recent developments in fusion music are placed within a broad historical frame and the context of Peru’s fraught racial and class relations, to examine how discourses of integration are juxtaposed with those -
Everett Rock Band/Musician List "GH"
Everett Rock Band/Musician List "G-H" Last Update: 6/28/2020 "G-H" List for Bands/Musicians Genre* From & Genre a Gamble in the Litter F I Mukilteo Minimalist / Folk / Indie G2 RB S H IL R&B/Soul / rap / hip hop Gabe Mintz I R A Seattle Indie / Rock / Acoustic Gabe Rozzell/Decency F C Gabe Rozzell and The Decency Portland Folk / Country Gabriel Kahane P Brooklyn, NY Pop Gabriel Mintz I Seattle Indie Gabriel Teodros H Rp S S Seattle/Brooklyn NY Hip Hop / Rap / Soul Gabriel The marine I Long Island Indie Gabriel WolfChild SS F A Olympia Singer Songwriter / folk / Acoustic Gaby Moreno Al S A North Hollywood, CA Alternative / Soul / Acoustic Gackstatter R Fk Seattle Rock / Funk Gadjo Gypsies J Sw A Bellingham Jazz / Swing / Acoustic GadZooks P Pk Seattle Pop Pk Gaelic Storm W Ce A R Nashville, TN World / Celtic / Acoustic Rock Gail Pettis J Sw Seattle Jazz / Swing Galapagos Band Pr R Ex Bellingham progressive/experimental rock Galaxy R Seattle Rock Gallery of Souls CR Lake Stevens Rock / Powerpop / Classic Rock Gallowglass Ce F A Bellingham traditional folk and Irish tunes Gallowmaker DM Pk Bellingham Deathrock/Surf Punk Gallows Hymn Pr F M Bellingham Progressive Folk Metal Gallus Brothers C B Bellingham's Country / Blues / Death Metal Galperin R New York City bossa nova rock GAMBLERS MARK Sf Ry El Monte CA Psychobilly / Rockabilly / Surf Games Of Slaughter M Shelton Death Metal / Metal GammaJet Al R Seattle Alternative / Rock gannGGreen H RB Kent Hip Hop / R&B Garage Heroes B G R Poulsbo Blues / Garage / Rock Garage Voice I R Seattle's Indie