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Made in America: The Federal Music Project in the MidwestRenee D Gaarder (7467362) 17 October 2019 (has links)
<p>The 1930s to 1940s saw an
upsurge in nationalism and the quest to define American identity. The federal
government sponsored and sanctioned a specific nationalist narrative within the
programs of the Works Progress Administration, later renamed Works Projects
Administration. Very little attention has been paid to the Federal Music
Project (FMP) yet this program was an integral part of constructing American
identity both nationally and regionally. In conjunction with popular music, and
at times in opposition to it, the FMP formed the “soundtrack” of American life.
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<p>Although the messages were not
as overt as those in other programs, such as the Federal Writers’ Project or
Federal Theatre Project, the Federal Music Project played a large part in
disseminating American ideals and identity, primarily through classical music,
and to a lesser extent, popular, folk, and indigenous forms of music. The
Federal Music Project strove to uncover, and at times create, America’s
“genuine” musical heritage. The ideals of the New Deal took root in the musical
expression of the FMP and impacted the development of American identity both
musically and socially. It was not merely a relief program for those on its
rolls; it was intended as an education program for the nation. Amid the push
and pull of politics, war, and class conflict, American musicians forged and
defined a unique style of music that was accepted by the American public.</p>
The dissertation focuses on the FMP activities in
the Midwest, or Region IV. Focusing on the Midwest as a region demonstrates how
the FMP was interpreted and practiced and allows for a conversation with other
the reginal studies of the FMP. Three case studies of Indiana, Illinois, and
Michigan provide a more detailed analysis of the activities and contributions
of each state, and thus the region, offering depth over breadth. Each of these
states had dedicated and active symphonies, teaching projects, community
outreach, radio broadcasting, and music therapy projects.
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SURVIVAL TECHNOLOGIES: AFRICAN-AMERICAN MUSICAL MODERNISMSJeffrey A Wimble (6634379) 02 May 2020 (has links)
<p>This dissertation focuses on a variety of African-American musical expressions of the later twentieth century, situating them along a continuum of musical modernism that constitute various modes of survival technology, inextricably connected to the cultures from which they arise. My application of the term <i>survival</i><i>technologies </i>denotes two primary aspects: musical “technologies” in the sense that the term is commonly understood to refer to the construction of musical instruments and recording instruments both old and new, but also “technologies” in the sense of the term employed by Murray and Dinerstein: as modes of knowledge and strategies of resistance. My use of <i>survival technologies</i>as the conceptual underpinning that unifies my research entails bringing these two aspects together, and the two senses of the term converge especially when African-American musicians use musical instruments and tools in new, unexpected ways, as frequently happens throughout the history of African-American music in the twentieth century. I analyze how African-American musicians’ use of electric guitars, amplification, synthesizers, analog sequencers, studio effects, turntables, samplers, drum machines, and digital audio workstations constitute a uniquely African-American mode of musical knowledge and practice that is improvisational, heuristic, non-linear, and constantly aware of the past while simultaneously re-imagining the future. I link this analysis to works by twentieth-century literary authors and theorists in order to examine how African-American musicians’ <i>modus operandi</i>, varied and distinct as they are, are nonetheless consistent not only across divergent musical styles and eras, but also function inseparably from other arts and broader cultural contexts.</p><p>Throughout this project, written words interact with musical recordings. I strive to “hear” written texts (literature and literary criticism) and to “read” sound texts (recordings), highlighting the resonances between “literary texts” and “sound texts.” The Chicago blues style of Muddy Waters interacts with Richard Wright’s literary documentary of life on Chicago’s South Side, <i>12 Million Black Voices,</i>to highlight how old rural black vernacular “folk” expressions could serve as the basis of a new urban African-American modernism. Likewise, the electronic experiments of Herbie Hancock, which innovatively combined European modes of music creation and African diasporic musical concepts, interacts with Henry Louis Gates Jr.’s <i>The Signifying Monkey </i>to highlight how African-American modernism entails Signifyin(g) on European precedents as well as precedents in African-American art. Additionally, the historically informed jazz of Wynton Marsalis interacts with T. S. Eliot’s ideas of tradition in order to highlight how artistic conceptions of the past inform African-American modernist expressions today, such as jazz and sampled electronic music. Finally, Detroit techno music interacts with the musical and cultural criticism of Theodor Adorno to highlight how African-American modernism uses survival technologies to construct visions of the future that resist what Adorno called the “culture industry.”</p>
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HARMONIC RESURGENCE: RECLAIMING THE GODINO TWINS’ JOURNEY THROUGH HIP HOPMelvin Earl Villaver Jr (15501698) 25 July 2023 (has links)
<p>The written component of the dissertation accompanying the "Harmonic Resurgence" mixtape is a captivating exploration of the extraordinary lives of the Godino twins. Through meticulous research and eloquent storytelling, this written work delves deep into the experiences, struggles, and triumphs of the twins, offering a profound and thought-provoking narrative. The dissertation showcases a pioneering approach that merges music and academia, demonstrating the creator's prowess in both artistic expression and scholarly investigation.</p>
<p><br></p>
<p>Each chapter of the dissertation is dedicated to dissecting significant moments in the twins' lives, meticulously analyzing the emotions and themes portrayed in the mixtape's tracks. It unravels the intricacies of the twins' profound connection and individual growth, while shedding light on the innovative fusion of storytelling and music that makes "Harmonic Resurgence" an unparalleled work of art.</p>
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<p>The written component transcends conventional norms in academic research, inviting readers on an immersive journey through the Godino twins' legacy. With meticulous attention to detail and a seamless interweaving of music and narrative, this work serves as a testament to the power of creativity and its ability to touch lives on a profound level.</p>
<p><br></p>
<p>Overall, the written component of the dissertation complements the "Harmonic Resurgence" mixtape, providing a comprehensive and deeply insightful perspective on the Godino twins' tale. Through this extraordinary academic exploration, their legacy is honored, celebrated, and forever etched into the hearts of those who engage with this groundbreaking work.</p>
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RUSTIC ROOTS AND RHINESTONE COWBOYS: AUTHENTICITY, SOUTHERN IDENTITY, AND THE GENDERED CONSTRUCTION OF PERSONA WITHIN THE LONG 1970s COUNTRY MUSIC INDUSTRYMcKenzie L Isom (11023398) 02 December 2022 (has links)
<p> </p>
<p>Throughout the long 1970s, country music actively sought to cultivate a more traditional, “authentic,” and conservative image and sound. By examining the country music industry, during the long 1970s, this dissertation highlights how authenticity, Southern heritage, and traditionalism within country music overlapped with the South’s broader resistance to social change. Past studies of country music have primarily been concerned with how the music and its traditional format represent the working-class culture of its audience. However, very little attention has been paid to how this adherence to authenticity and traditionalism impacted its artists, particularly the female ones. In turn, the scholarship that does pertain solely to female artists is often dismissive of the impact that the country music industry and its restrictive culture had on female artists and instead opts to foster a retroactively feminist portrayal of the them and their music.</p>
<p>In examining the careers of Loretta Lynn, Dolly Parton, Tanya Tucker, and Tammy Wynette, this dissertation argues that country music held its female artists to a far stricter standard than its male artists throughout the long 1970s and actively encouraged them to foster lyrics and personas that were in line with the genre’s conception of traditional femininity. Over time, artists like Lynn and Wynette became so intrinsically connected to these traditional personas that they could not escape it, which negatively impacted not only their careers but personal lives as well. Likewise, when Parton and Tucker attempted to challenge the gendered restriction that they encountered within country music, they were punished and shunned by the broader country music community to the point that they left it altogether. </p>
<p>By exploring these highly calculated measures that the industry used to maintain each of these elements and its broader effects on the genre, its artists, and audience base, this dissertation also highlights how the authenticity label evolved into a gatekeeping term, employed at various times throughout the industry’s history to prevent unsatisfactory or controversial ideologies, images, people, and musical elements from gaining access to or the ability to change and diversify the genre. </p>
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