Paralinguistic Ramification Of Language Performance In Islamic Ritual, 2018 University of Alberta
Paralinguistic Ramification Of Language Performance In Islamic Ritual, Michael Frishkopf
Yale Journal of Music & Religion
Across time and space, Islamic ritual practices maintain certain fixed features while adapting to local environments, thereby developing a branching or ramified structure—though political, economic, ideological, or technological factors may cause certain local forms to globalize as well. Such ramification offers a means of interpreting the past as well as a window into religious meaning and the ritual process itself. How does such adaptation take place, what drives it, what is its social-spiritual meaning and impact, what can such a ramified variety across history and place tell us, and where does the essence of such ritual lie? In this ...
Bridge Over Bridgeport: An Incremental Change In Case Law Of Sampling, 2018 University of Colorado at Boulder
Bridge Over Bridgeport: An Incremental Change In Case Law Of Sampling, Eric Harbeson
American Music Research Center Faculty Contributions
The contentious law and ethics of sampling saw a dramatic, if incremental development in the case of VMG Salsoul v. Madonna Louise Ciccone. The Ninth Circuit found that a de minimis argument can be used in sampling cases for the first time since the previously dominant Bridgeport v. Dimension Films. The case sets up a circuit split with the 6th circuit, one that could bode well for those wishing to engage in musical appropriation art.
The Unifying Strands: Formalism And Gestalt Theory In The Musical Philosophies Of Aristoxenus, Descartes, And Meyer, Amanda N. Staufer
In every age, philosophers deal with inquiries concerning musical meaning and the effect of music on the listener. Instead of answering the formidable question of musical meaning, this essay demonstrates the parallel aspects of three musical theories from ancient, Enlightenment, and modern times. Using the two criteria of musical formalism and Gestalt Theory, this essay systematically connects the philosophies of Aristoxenus of Tarentum, René Descartes, and Leonard Meyer. Musical formalism holds that music’s nature is innate, self-evident, able to be systematically deduced, and rational. According to formalism, musical meaning is defined by things objectively ‘there’ in the music, musical ...
Choreopoems: Augmenting Textuality With Movement, 2018 Morehouse College
Choreopoems: Augmenting Textuality With Movement, Aaron Carter-Enyi, Zari Mcfadden
Africana Digital Ethnography Project
In 1975, Ntozake Shange debuted For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf establishing a new intermedia genre: the choreopoem. A choreopoem is a unique approach to storytelling that departs from Western poetry by incorporating emphases on movement and nonverbal communication, using embodied emotion to connect with audiences. Shange’s innovation is continued through the work of Jessica Care Moore (poet) and Aku Kadogo (choreographer, Spelman College) who has developed a techno-choreopoem entitled Salt City. The work celebrates Black culture in Detroit: “the African-American presence in the city … [and] techno-music that was pioneered by African-American men ...
Pitch Polarity In Praise Singing And Hip-Hop: Evidence For An Underrepresented Poetic Feature, 2018 Clark Atlanta University
Pitch Polarity In Praise Singing And Hip-Hop: Evidence For An Underrepresented Poetic Feature, William S. Dula, Aaron Carter-Enyi, David Oludaisi Aina, Nathaniel Condit-Schultz
Africana Digital Ethnography Project
Tonal counterpoint is a common device in the oral improvisatory tradition of Yorùbá oríkì (praise-singing), first documented by Ọlátunji (1984). Both tonal and counterpoint are terms familiar to musicians, but the meaning here is the linguistic tonal, not the harmonic, and the rhetorical counterpoint, not polyphonic. Ọlátunji describes couplets in which each phrase is parallel if not identical in terms of phonic content and the first sets up a tonal expectancy for the second. The contrast might also be between words within a single phrase. There are three primary categories of tonal counterpoint in Yorùbá oríkì: parallelism of similar words ...
Not Afro-Beat: The Hegemonic Possession Of A Musical Genre, 2018 University of Limerick
Not Afro-Beat: The Hegemonic Possession Of A Musical Genre, Odyke Nzewi, Aaron Carter-Enyi, Quintina Carter-Enyi, David Oludaisi Aina
Africana Digital Ethnography Project
Synchronous movements for African independence and American civil rights emboldened each other, inspiring a global flourish of black popular music. Fẹla Kuti is celebrated in literature and media but his contemporaries are largely forgotten. According to Waterman (2002), “Afro-beat music was associated almost exclusively with one charismatic figure.” This is reinforced by Moore (1982), Olaniyan (2004) and others. Nigerian journalist Tam Fiofori and the multiple-author blog “afrobeat, afrofunk, afrojazz, afrorock, african-boogie...” tell a different story. In 1960s Lagos, a nascent musical movement formed fusing Highlife and African-American popular music, fortified by James Brown’s 1970 tour of West Africa (Emielu ...
The Language Agenda In Post-Colonial African Music, 2018 University of Georgia
The Language Agenda In Post-Colonial African Music, Quintina Carter-Enyi
Africana Digital Ethnography Project
For post-colonial African musicians, decolonization became an imperative. For musicians, singing in one’s native language was no longer merely creative expression, it took on a more significant role in decolonizing the African continent. This was also the case for composers, particularly those who traveled abroad to study in conservatories and universities in the United Kingdom or the United States of America.
In Decolonising the Mind, Ngũgĩ wa Thiong’o makes a case for African literature to be written in African languages. He also points out that singers and musicians have resisted mental colonization by retaining indigenous musical practices and ...
For Those About To Rock: Gender Codes In The Rock Music Video Games Rock Band And Rocksmith, 2018 Florida International University
For Those About To Rock: Gender Codes In The Rock Music Video Games Rock Band And Rocksmith, Elisa M. Melendez
FIU Electronic Theses and Dissertations
This dissertation explores gender codes within the intersection of two American pop culture staples, video games and rock music, by conducting a feminist analysis of two video games (Rock Band and Rocksmith). Both video games and rock music have had their share of feminist academic critique: Musicologists point out how lack of canonical inclusion, gendered attitudes towards instruments, and messages from supporting media create an unwelcome environment for women to pursue a rock music career. Game studies scholars have examined similar attitudes, including a lack of women represented in both the video games and the studios that create them.
Cervelli, Luanne Beth (Fa 376), 2018 Western Kentucky University
Cervelli, Luanne Beth (Fa 376), Manuscripts & Folklife Archives
FA Finding Aids
Finding aid only for Folklife Archives Project 376. Interview with John Buell Edmonds conducted by LuAnne Beth Cervelli on 18 September 1988. Edmonds, a notable gospel singer from Bowling Green, Kentucky discusses his experiences performing gospel music, his involvement in recording and promoting gospel groups, his relationship with the local choir, and the current state of gospel music.
From Maroons To Mardi Gras: The Role Of African Cultural Retention In The Development Of The Black Indian Culture Of New Orleans, Robin Ligon Williams
After a three hundred year journey from the continent, African cultural retention remains at the core of the Black Indian masking tradition of New Orleans. Prior research from progenitors in anthropology and ethnomusicology, focusing on African cultural retention, include the ground-breaking ethnographies of Robert Farris Thompson, Gwendolyn Midlo Hall, Kalamu Ya Salaam, Michael P. Smith, Margaret Thompson Drewel, Stephen Wehmeyer, Jason Berry and others, have established a solid foundation for research on African influences and retentions in expressive folk cultures, laying a firm foundation for this project. The author’s insider experiences within the Black Indian tradition are underscored by ...
The Musicality Of Salsa Dancers: An Ethnographic Study, 2018 The Graduate Center, City University of New York
The Musicality Of Salsa Dancers: An Ethnographic Study, Janice Mahinka
All Dissertations, Theses, and Capstone Projects
This work analyzes the musical knowledge and aesthetics acquired by improvisatory social salsa dancers who hone close listening skills through corporeal means. The connections that these dancers construct between music, self, and partner make evident an engagement with musicality that can be seen through their demonstration of kinesthetic entrainment, structural feeling of hypermetric conventions, and enactment of expressive microtiming within beat and metric structures. I introduce the concept of timespace to explain how dancers manipulate this physiological experience to create different feelings in a dance, addressing issues that dancers raised in our feedback interviews such as feel, flow, and play ...
The Somali Cultural Integration Through Music In Minneapolis, 2018 Augsburg University
The Somali Cultural Integration Through Music In Minneapolis, Cleo Knickerbocker
As a jazz pianist and music major, I had the unique opportunity to perform with and study Somali music. Through this experience, I not only learned about Somali music but also its significance to Somali culture and how music can act as a bridge, bringing together Somali and non-Somali communities in Minneapolis. As a result of my research, I’ve developed "The Somali Music Minnesota" website which displays information about the history of Somali music, events, and resources available for Somali music. Most importantly, the website includes a variety of Somali music excerpts. The site is accessible to English-speaking as ...
Place Accumulation: Kingston/Ulster, 2018 Bard College
Place Accumulation: Kingston/Ulster, Callan F. Fish
Senior Projects Spring 2018
Since February 2018, I’ve been listening and recording around Kingston and the town of Ulster; synthesizing interviews, bird song, passing cars, protests, conflict, unique perspectives and oral histories, meetings, optimisms, water, as part of a project called, Place Accumulation: Kingston/Ulster. Using the Dynamic Listening Instrument, an interactive sound sculpture which uses a venn-diagram of electromagnetic fields to allow sounds to be handled as a tactile entity and bended dynamically, sounds are arranged and dispersed back into different locations and events in Kingston. Using a sounding bucket, people in Kingston can listen in, re-arrange, explore, and play with sounds ...
Musical Infrastructures And Techniques Of Survival In Dakar, 2018 Bard College
Musical Infrastructures And Techniques Of Survival In Dakar, Simon Charles Debevoise
Senior Projects Spring 2018
Senior Project jointly submitted to the Division of Social Studies and the Division of Arts of Bard College.
"I'Ll Listen To Anything But Country Music" The Limits Of Musical Omnivorousness: A Study Of Listening Preferences At The Root Cellar, Aurélia S. Le Vacon
Senior Projects Spring 2018
This research, conducted at a musical safe space called the “Root Cellar”, looks at the recent emergence of a new form of aesthetic preferences, called omnivorousness, that challenges Pierre Bourdieu’s theory of taste as only following an elitist model. This study understands the concept of the habitus as something that can evolve with time and social experiences. Moreover, I found that omnivorousness (eclectic taste) isn’t as musically inclusive as past studies have claimed. Omnivorousness is reinforced by technology, with the creation of online music streaming platforms. The mobility and privatization of listening spaces that emerge from technological progress ...
Music In The Northern Woods: An Archaeological Exploration Of Musical Instrument Remains, 2018 Michigan Technological University
Music In The Northern Woods: An Archaeological Exploration Of Musical Instrument Remains, Matthew Durocher
Dissertations, Master's Theses and Master's Reports
Archaeological and historical literature neglects music and sound. The quantity and distribution of musical remains found during archaeological excavations at Coalwood, a Cleveland-Cliffs Iron Company (CCI) logging camp active from 1901-1912 in the Upper Peninsula of Michigan, addresses the importance of music to the people that lived there. Musical reed plates from harmonicas, concertinas, and accordions were recovered and examined. These musical remains have traditionally been ignored as a diagnostic artifact, but here, I use them as primary evidence to access the daily lives of people in the northern woods. To do this, I will present how CCI developed Coalwood ...
Selected Folksong Arrangements Of Zoltán Kodály: An Analysis And Performer’S Guide, 2018 James Madison University
Selected Folksong Arrangements Of Zoltán Kodály: An Analysis And Performer’S Guide, Sebastian A. Haboczki
The history of Hungarian music and the Hungarian nation is a long and complicated one. Conquered by many different empires throughout history, Hungary faced challenges in maintaining its unique music and cultural heritage. Despite Hungary’s tumultuous changes of governance, its folksongs have evolved and flourished. Through the efforts of people such as Zoltán Kodály, Béla Bartók, and Lászlo Dobszay, these folksongs have been collected, studied, and categorized. Kodály, an accomplished musician whose research and music education philosophy can sometimes overshadow his compositional prowess, also composed folksong arrangements which embody the true nature of Hungarian music. These arrangements can be ...
Enduring Music: Migrant Appalachian Communities And The Shenandoah National Park, 2018 James Madison University
Enduring Music: Migrant Appalachian Communities And The Shenandoah National Park, Madeline Marsh
Senior Honors Projects, 2010-current
This paper is an archival study of the displaced children of families formerly living in the Shenandoah National Park which spans from Strasburg to Waynesboro, Virginia. The study looks at interviews, from the JMU Special Collections archives, of these children in the 1970-80s, nearly fifty years after their forced migration from the 197,438 acres that comprised the park. Change and pressure during the 1930s-40s combined with national policy began the nostalgic preservation and veneration of the culture of these people of the Blue Ridge Mountains; through the archives, a clear and diverse picture of the perspectives and lifestyles of ...
Mbalax: Traces Of Tradition In Senegalese Hip-Hop, 2018 Liberty University
Mbalax: Traces Of Tradition In Senegalese Hip-Hop, Mikayla Simeral
What is mbalax and how is it adaptively transforming the modern-day culture of Dakar, Senegal? Throughout This this study, willI plan to provide a glimpse into the current hip-hop culture of Dakar, ultimately revealing how up-and-coming artists are implementing mbalax. The research for this study took place I was in Dakar, Senegal from January 26th - February 16th, and was completed my field research in both Washington D.C. and New York City from February 22nd-26th. During this time m, I was able to connect with multiple hip-hop artists, political activists/rappers, drummers, and sabar dancers were consulted. More knowledge was ...
Guitar Arrangements Of Selected Danzas Of Juan F. Acosta, With New Considerations Of His Music And Musical Life, 2018 University of Kentucky
Guitar Arrangements Of Selected Danzas Of Juan F. Acosta, With New Considerations Of His Music And Musical Life, Hermelindo Ruiz Mestre
Theses and Dissertations--Music
Juan Francisco Acosta (1890-1968) was a prolific composer, band conductor, and educator from Puerto Rico who created 1,256 original compositions. Even though his activities and influence were integral to the musical life of Puerto Rico in the twentieth century, many details of his life and works remain unknown.
This project centers on Acosta’s contribution to the Puerto Rican tradition of the danza—a dance-based genre originating in the nineteenth century—through the study and arrangement of five of Acosta's danzas. Although Acosta composed most danzas for piano, he adapted them for performances by the municipal bands that ...