David O. Clayden
- Published in print:
- 2005
- Published Online:
- January 2008
- ISBN:
- 9780198565932
- eISBN:
- 9780191714016
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198565932.003.0020
- Subject:
- Mathematics, History of Mathematics
This chapter describes circuit design of the Pilot ACE and Big ACE. Topics covered include the advantages of the long tailed pair in digital circuits, the half-adder and adder circuits, signal ...
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This chapter describes circuit design of the Pilot ACE and Big ACE. Topics covered include the advantages of the long tailed pair in digital circuits, the half-adder and adder circuits, signal coupling, the circulation unit, wide band DC coupling, data distribution and control, the assisted cathode follower, and the magnetic drum store of the ACE Pilot Model and Big Ace.Less
This chapter describes circuit design of the Pilot ACE and Big ACE. Topics covered include the advantages of the long tailed pair in digital circuits, the half-adder and adder circuits, signal coupling, the circulation unit, wide band DC coupling, data distribution and control, the assisted cathode follower, and the magnetic drum store of the ACE Pilot Model and Big Ace.
Thomas H. Troeger
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195398885
- eISBN:
- 9780199866236
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195398885.003.0003
- Subject:
- Religion, Religion and Society
We are all by the very fact that we have beating hearts and vocal chords musical creatures. God has made each of us a woodwind and a drum. The chapter considers how in a culture where music is ...
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We are all by the very fact that we have beating hearts and vocal chords musical creatures. God has made each of us a woodwind and a drum. The chapter considers how in a culture where music is ubiquitous—in airports and stores, while using personal listening devices or waiting on the telephone—our capacity for attentive listening to the subtleties and beauties of music is diminished. There follows an introduction to basic methods of musicology that preachers can employ to create sermons based on serious works of music, both instrumental and choral, that reawaken a congregation’s capacity to listen in depth and to gain through their listening a sense of how the Spirit is praying for us in sighs too deep for words. There are illustrative sermons on the music of pipes, on works by J. S. Bach and Gabriel Fauré, and on the spiritual “Swing Low, Sweet Chariot.”Less
We are all by the very fact that we have beating hearts and vocal chords musical creatures. God has made each of us a woodwind and a drum. The chapter considers how in a culture where music is ubiquitous—in airports and stores, while using personal listening devices or waiting on the telephone—our capacity for attentive listening to the subtleties and beauties of music is diminished. There follows an introduction to basic methods of musicology that preachers can employ to create sermons based on serious works of music, both instrumental and choral, that reawaken a congregation’s capacity to listen in depth and to gain through their listening a sense of how the Spirit is praying for us in sighs too deep for words. There are illustrative sermons on the music of pipes, on works by J. S. Bach and Gabriel Fauré, and on the spiritual “Swing Low, Sweet Chariot.”
Steve Reich
- Published in print:
- 2004
- Published Online:
- October 2011
- ISBN:
- 9780195151152
- eISBN:
- 9780199850044
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195151152.003.0010
- Subject:
- Music, History, American
This chapter presents Reich's account of his composition of Drumming between the fall of 1970 and the fall of 1971. To the frequent question of what influence his visit to Africa in the summer of ...
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This chapter presents Reich's account of his composition of Drumming between the fall of 1970 and the fall of 1971. To the frequent question of what influence his visit to Africa in the summer of 1970 had on Drumming, Reich answers confirmation. It confirmed his intuition that acoustic instruments could be used to produce music that was genuinely richer in sound than that produced with electronic instruments, as well as confirming his natural inclination toward percussion.Less
This chapter presents Reich's account of his composition of Drumming between the fall of 1970 and the fall of 1971. To the frequent question of what influence his visit to Africa in the summer of 1970 had on Drumming, Reich answers confirmation. It confirmed his intuition that acoustic instruments could be used to produce music that was genuinely richer in sound than that produced with electronic instruments, as well as confirming his natural inclination toward percussion.
Murray Campbell, Clive Greated, and Arnold Myers
- Published in print:
- 2004
- Published Online:
- May 2008
- ISBN:
- 9780198165040
- eISBN:
- 9780191713675
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198165040.003.0007
- Subject:
- Music, History, Western
This chapter describes the basic acoustical characteristics of unpitched and pitched percussion instruments, including the functions of beaters (hammers). The history and development of percussion ...
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This chapter describes the basic acoustical characteristics of unpitched and pitched percussion instruments, including the functions of beaters (hammers). The history and development of percussion instruments commonly scored for is summarized, considering the xylophone, glockenspiel, triangle, cymbals, bells, gongs, and drums, including side or snare drums, bass drum, kettledrums (timpani), and tambourine. The contemporary use of percussion, including the drum kit, is outlined. Methods of tuning glockenspiel and xylophone bars are described, and brief descriptions of traditional bellfounding and drumhead preparation are given as examples of the varied techniques involved in making percussion instruments. Playing techniques are explored, including the choice of beaters, stick technique, and timpani tuning.Less
This chapter describes the basic acoustical characteristics of unpitched and pitched percussion instruments, including the functions of beaters (hammers). The history and development of percussion instruments commonly scored for is summarized, considering the xylophone, glockenspiel, triangle, cymbals, bells, gongs, and drums, including side or snare drums, bass drum, kettledrums (timpani), and tambourine. The contemporary use of percussion, including the drum kit, is outlined. Methods of tuning glockenspiel and xylophone bars are described, and brief descriptions of traditional bellfounding and drumhead preparation are given as examples of the varied techniques involved in making percussion instruments. Playing techniques are explored, including the choice of beaters, stick technique, and timpani tuning.
Paul Christopher Johnson
- Published in print:
- 2002
- Published Online:
- November 2003
- ISBN:
- 9780195150582
- eISBN:
- 9780199834358
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195150589.003.0005
- Subject:
- Religion, World Religions
Describes the sociopolitical context of the new republican public order of Brazil between 1889 and 1930 that uncovered a third historical layer of the practice of secrecy, now as resistance to the ...
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Describes the sociopolitical context of the new republican public order of Brazil between 1889 and 1930 that uncovered a third historical layer of the practice of secrecy, now as resistance to the republic.The problem of the classification of Candomblé in the Brazilian public sphere began in 1888 with abolition. It is precisely at this juncture that the relation of Afro‐Brazilians and their religions to Brazilian national identity became a pressing concern. With the advent of abolition and the inchoateness of Afro‐Brazilians’ new social position, their provisional status as “Brazilians” shifted in the eyes of white élites back to that of “Africans” and therefore, foreigners – a dangerous and polluting presence. The liberty of freed slaves to perform religious ceremonies involving drumming, sacrifice, and possession dance was an obvious site of contestation since it was in such ritual performances that difference – the “non‐Brazilian” identity – was most radically marked.Less
Describes the sociopolitical context of the new republican public order of Brazil between 1889 and 1930 that uncovered a third historical layer of the practice of secrecy, now as resistance to the republic.
The problem of the classification of Candomblé in the Brazilian public sphere began in 1888 with abolition. It is precisely at this juncture that the relation of Afro‐Brazilians and their religions to Brazilian national identity became a pressing concern. With the advent of abolition and the inchoateness of Afro‐Brazilians’ new social position, their provisional status as “Brazilians” shifted in the eyes of white élites back to that of “Africans” and therefore, foreigners – a dangerous and polluting presence. The liberty of freed slaves to perform religious ceremonies involving drumming, sacrifice, and possession dance was an obvious site of contestation since it was in such ritual performances that difference – the “non‐Brazilian” identity – was most radically marked.
Ryan André Brasseaux
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780195343069
- eISBN:
- 9780199866977
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195343069.003.0006
- Subject:
- Music, History, American
The historical and cultural forces pushing together traditional Cajun, hillbilly, western swing, jazz, and American popular music, and the musical synthesis that ensued, form the foundation of this ...
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The historical and cultural forces pushing together traditional Cajun, hillbilly, western swing, jazz, and American popular music, and the musical synthesis that ensued, form the foundation of this chapter. Cajun swing embodied the growing popularity and availability of mass media. Cultural shifts also acted on the burgeoning style. The petroleum industry, compulsory English-only education, the disruptive effects of the 1927 flood, new roads, automobiles, and two world wars exposed rural Cajuns to a larger reality, while plugging the ethnic group into the pulse of American popular culture at an unprecedented pace. Disposable incomes generated by opportunities in the oil patch augmented the stratification of Cajun society and facilitated the acquisition of technological amenities—particularly phonographs, records, and radios. America was open to the Cajun community for those who opted to avail themselves of the opportunities this access afforded.Less
The historical and cultural forces pushing together traditional Cajun, hillbilly, western swing, jazz, and American popular music, and the musical synthesis that ensued, form the foundation of this chapter. Cajun swing embodied the growing popularity and availability of mass media. Cultural shifts also acted on the burgeoning style. The petroleum industry, compulsory English-only education, the disruptive effects of the 1927 flood, new roads, automobiles, and two world wars exposed rural Cajuns to a larger reality, while plugging the ethnic group into the pulse of American popular culture at an unprecedented pace. Disposable incomes generated by opportunities in the oil patch augmented the stratification of Cajun society and facilitated the acquisition of technological amenities—particularly phonographs, records, and radios. America was open to the Cajun community for those who opted to avail themselves of the opportunities this access afforded.
David Henderson
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780195331370
- eISBN:
- 9780199868087
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195331370.003.0010
- Subject:
- Music, Ethnomusicology, World Music
This chapter alternates between a study of drumming lessons in the Kathmandu Valley in Nepal and a consideration of studies of bodily knowledge, or what is sometimes called procedural knowledge, by ...
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This chapter alternates between a study of drumming lessons in the Kathmandu Valley in Nepal and a consideration of studies of bodily knowledge, or what is sometimes called procedural knowledge, by three different kinds of scholars: the neurologist Antonio Damasio, the philosopher David Sudnow, and the anthropologist Michael Herzfeld. On one hand, it is an analysis, written ethnographically and phenomenologically, of how drumming becomes lodged in memory and in the body, and, on the other hand, it is a rumination, prompted partly by Herzfeld's work, on the place of outmoded artisan and artistic work in the modern nation-state.Less
This chapter alternates between a study of drumming lessons in the Kathmandu Valley in Nepal and a consideration of studies of bodily knowledge, or what is sometimes called procedural knowledge, by three different kinds of scholars: the neurologist Antonio Damasio, the philosopher David Sudnow, and the anthropologist Michael Herzfeld. On one hand, it is an analysis, written ethnographically and phenomenologically, of how drumming becomes lodged in memory and in the body, and, on the other hand, it is a rumination, prompted partly by Herzfeld's work, on the place of outmoded artisan and artistic work in the modern nation-state.
Madeline Y. Hsu
- Published in print:
- 2015
- Published Online:
- October 2017
- ISBN:
- 9780691164021
- eISBN:
- 9781400866373
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691164021.003.0005
- Subject:
- History, American History: early to 18th Century
This chapter explores how the Chinese people present in America on temporary visas as students, technical trainees, diplomats, sailors, and so forth suddenly found themselves stranded by the ...
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This chapter explores how the Chinese people present in America on temporary visas as students, technical trainees, diplomats, sailors, and so forth suddenly found themselves stranded by the Communist victory in the Chinese Civil War. For instance, C.Y. Lee, the author of Flower Drum Song, was rescued from refugee status by changes in immigration laws and procedures that allowed resident Chinese in good standing to receive permanent status. On behalf of this group of elite, highly educated Chinese, the State Department and Congress made accommodations rather than force such usefully trained workers to return to a now hostile state. Lee's transformation from student to refugee and then to legal immigrant mirrors that of thousands of other Chinese intellectuals who received American assistance to remain, enter the U.S. workforce, and become citizens.Less
This chapter explores how the Chinese people present in America on temporary visas as students, technical trainees, diplomats, sailors, and so forth suddenly found themselves stranded by the Communist victory in the Chinese Civil War. For instance, C.Y. Lee, the author of Flower Drum Song, was rescued from refugee status by changes in immigration laws and procedures that allowed resident Chinese in good standing to receive permanent status. On behalf of this group of elite, highly educated Chinese, the State Department and Congress made accommodations rather than force such usefully trained workers to return to a now hostile state. Lee's transformation from student to refugee and then to legal immigrant mirrors that of thousands of other Chinese intellectuals who received American assistance to remain, enter the U.S. workforce, and become citizens.
Igor S. Aranson and Lev S. Tsimring
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780199534418
- eISBN:
- 9780191714665
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199534418.003.0002
- Subject:
- Physics, Condensed Matter Physics / Materials
This chapter presents a brief experimental overview of key granular patterns and phenomena. It introduces basic experimental systems, such as vertically and horizontally vibrated granular layers, ...
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This chapter presents a brief experimental overview of key granular patterns and phenomena. It introduces basic experimental systems, such as vertically and horizontally vibrated granular layers, rotating drums, flow down inclined plane, variety of experiments with “complex” grains (charged, magnetic, and “biological” particles), and presents the most relevant patterns which are discussed in detail in Chapters 3-9.Less
This chapter presents a brief experimental overview of key granular patterns and phenomena. It introduces basic experimental systems, such as vertically and horizontally vibrated granular layers, rotating drums, flow down inclined plane, variety of experiments with “complex” grains (charged, magnetic, and “biological” particles), and presents the most relevant patterns which are discussed in detail in Chapters 3-9.
George Worlasi Kwasi Dor
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9781617039140
- eISBN:
- 9781621039952
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617039140.001.0001
- Subject:
- Music, Ethnomusicology, World Music
More than twenty universities and twenty other colleges in North America (USA and Canada) offer performance courses on West African ethnic dance drumming. Since its inception in 1964 at both UCLA and ...
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More than twenty universities and twenty other colleges in North America (USA and Canada) offer performance courses on West African ethnic dance drumming. Since its inception in 1964 at both UCLA and Columbia, West African drumming and dance has gradually developed into a vibrant campus subculture in North America. The dances most practiced in the American academy come from the ethnic groups Ewe, Akan, Ga, Dagbamba, Mande, and Wolof, thereby privileging dances mostly from Ghana, Togo, Benin, Senegal, Mali, Guinea, and Burkina Faso. This strong presence of a world music ensemble in the diaspora has captured and engaged the interest of scholars, musicians, dancers, and audiences. In the first-ever ethnographic study of West African drumming and dance in North American universities the author documents and acknowledges ethnomusicologists, ensemble directors, students, administrators, and academic institutions for their key roles in the histories of their respective ensembles. Dor collates and shares perspectives including debates on pedagogical approaches that may be instructive as models for both current and future ensemble directors and reveals the multiple impacts that participation in an ensemble or class offers students. He also examines the interplay among historically situated structures and systems, discourse, and practice, and explores the multiple meanings that individuals and various groups of people construct from this campus activity. The study will be of value to students, directors, and scholars as an ethnographic study and as a text for teaching relevant courses in African music, African studies, ethnomusicology/world music, African diaspora studies, and other related disciplines.Less
More than twenty universities and twenty other colleges in North America (USA and Canada) offer performance courses on West African ethnic dance drumming. Since its inception in 1964 at both UCLA and Columbia, West African drumming and dance has gradually developed into a vibrant campus subculture in North America. The dances most practiced in the American academy come from the ethnic groups Ewe, Akan, Ga, Dagbamba, Mande, and Wolof, thereby privileging dances mostly from Ghana, Togo, Benin, Senegal, Mali, Guinea, and Burkina Faso. This strong presence of a world music ensemble in the diaspora has captured and engaged the interest of scholars, musicians, dancers, and audiences. In the first-ever ethnographic study of West African drumming and dance in North American universities the author documents and acknowledges ethnomusicologists, ensemble directors, students, administrators, and academic institutions for their key roles in the histories of their respective ensembles. Dor collates and shares perspectives including debates on pedagogical approaches that may be instructive as models for both current and future ensemble directors and reveals the multiple impacts that participation in an ensemble or class offers students. He also examines the interplay among historically situated structures and systems, discourse, and practice, and explores the multiple meanings that individuals and various groups of people construct from this campus activity. The study will be of value to students, directors, and scholars as an ethnographic study and as a text for teaching relevant courses in African music, African studies, ethnomusicology/world music, African diaspora studies, and other related disciplines.
Kenneth Schweitzer
- Published in print:
- 2013
- Published Online:
- March 2014
- ISBN:
- 9781617036699
- eISBN:
- 9781621030065
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617036699.001.0001
- Subject:
- Music, Ethnomusicology, World Music
An iconic symbol and sound of the Lucumí/Santería religion, Afro-Cuban batá are talking drums that express the epic mythological narratives of the West African Yoruba deities known as orisha. By ...
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An iconic symbol and sound of the Lucumí/Santería religion, Afro-Cuban batá are talking drums that express the epic mythological narratives of the West African Yoruba deities known as orisha. By imitating aspects of speech and song, and by metaphorically referencing salient attributes of the deities, batá drummers facilitate the communal praising of orisha in a music ritual known as a toque de santo. This book blends musical transcription, musical analysis, interviews, ethnographic descriptions, and observations from his own experience as a ritual drummer to highlight the complex variables at work during a live Lucumí performance. Integral in enabling trance possessions by the orisha, by far the most dramatic expressions of Lucumí faith, batá drummers are also entrusted with controlling the overall ebb and flow of the four- to six-hour toque de santo. During these events, batá drummers combine their knowledge of ritual with an extensive repertoire of rhythms and songs. Musicians focus on the many thematic acts that unfold both concurrently and in quick succession. In addition to creating an emotionally charged environment, playing salute rhythms for the orisha, and supporting the playful song competitions that erupt between singers, batá drummers are equally dedicated to nurturing their own drumming community by creating a variety of opportunities for the musicians to grow artistically and creatively.Less
An iconic symbol and sound of the Lucumí/Santería religion, Afro-Cuban batá are talking drums that express the epic mythological narratives of the West African Yoruba deities known as orisha. By imitating aspects of speech and song, and by metaphorically referencing salient attributes of the deities, batá drummers facilitate the communal praising of orisha in a music ritual known as a toque de santo. This book blends musical transcription, musical analysis, interviews, ethnographic descriptions, and observations from his own experience as a ritual drummer to highlight the complex variables at work during a live Lucumí performance. Integral in enabling trance possessions by the orisha, by far the most dramatic expressions of Lucumí faith, batá drummers are also entrusted with controlling the overall ebb and flow of the four- to six-hour toque de santo. During these events, batá drummers combine their knowledge of ritual with an extensive repertoire of rhythms and songs. Musicians focus on the many thematic acts that unfold both concurrently and in quick succession. In addition to creating an emotionally charged environment, playing salute rhythms for the orisha, and supporting the playful song competitions that erupt between singers, batá drummers are equally dedicated to nurturing their own drumming community by creating a variety of opportunities for the musicians to grow artistically and creatively.
Jan Brokken
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9781628461855
- eISBN:
- 9781626740914
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628461855.003.0026
- Subject:
- Music, Ethnomusicology, World Music
This chapter discusses the enormous variety of music that can be heard on the Curacaoan radio from Latin American, North American to classical European. It discusses typical instruments on the island ...
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This chapter discusses the enormous variety of music that can be heard on the Curacaoan radio from Latin American, North American to classical European. It discusses typical instruments on the island and various types of church choral music.Less
This chapter discusses the enormous variety of music that can be heard on the Curacaoan radio from Latin American, North American to classical European. It discusses typical instruments on the island and various types of church choral music.
Michael Winkelman
- Published in print:
- 2004
- Published Online:
- October 2011
- ISBN:
- 9780195167962
- eISBN:
- 9780199850150
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195167962.003.0029
- Subject:
- Religion, Religion and Society
One area of American medicine in which spirituality is widely considered a vital aspect of healing is in substance abuse rehabilitation. While mainstream spiritual healing practices are found in the ...
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One area of American medicine in which spirituality is widely considered a vital aspect of healing is in substance abuse rehabilitation. While mainstream spiritual healing practices are found in the methods used by members of Alcoholics Anonymous, a variety of other spiritual practices are also used in substance abuse rehabilitation. This chapter assesses the role of community drumming and shamanic programs in healing addiction. The putative effectiveness of these practices in treating substance abuse is proposed to derive from the psychobiological dynamics of the altered states of consciousness (ASC) and other psychophysiological changes they produce. The psychobiological and psychophysiological processes underlying shamanic practices are described to illustrate their potential contributions to the resolution of addiction. Cross-cultural evidence supports the contention that shamanism is a cross-cultural phenomenon with universal features based in human psychobiology.Less
One area of American medicine in which spirituality is widely considered a vital aspect of healing is in substance abuse rehabilitation. While mainstream spiritual healing practices are found in the methods used by members of Alcoholics Anonymous, a variety of other spiritual practices are also used in substance abuse rehabilitation. This chapter assesses the role of community drumming and shamanic programs in healing addiction. The putative effectiveness of these practices in treating substance abuse is proposed to derive from the psychobiological dynamics of the altered states of consciousness (ASC) and other psychophysiological changes they produce. The psychobiological and psychophysiological processes underlying shamanic practices are described to illustrate their potential contributions to the resolution of addiction. Cross-cultural evidence supports the contention that shamanism is a cross-cultural phenomenon with universal features based in human psychobiology.
David E. Shi
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780195106534
- eISBN:
- 9780199854097
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195106534.003.0004
- Subject:
- History, History of Ideas
The Civil War was a pivotal event in American political and social history. However, it also served as the hinge in the nation's cultural development, a turning point after which intellectual life ...
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The Civil War was a pivotal event in American political and social history. However, it also served as the hinge in the nation's cultural development, a turning point after which intellectual life and artistic expression were perceptibly different. Underneath the Civil War's romantic veneer lurked grim realities. Gender roles especially felt the conflict's transforming impact. Most of America's promising young writers and artists did not participate in the Civil War. The war reinforced Oliver Wendell Holmes, Jr.'s developed skeptical materialism. Walt Whitman had urged “relentless war” to end secession, but he, too, changed his exuberant tone after witnessing the war's grim reaping. The war's “mortal reality” gave greater depth, poignancy, and clarity to Whitman's Drum-Taps. Over the years Romanticism formed around the Civil War, making it stirringly unreal. The soul-numbing war depicted in John Esten Cooke and John W. De Forest's writings, Winslow Homer's illustrations, and Alexander Gardner's photographs soon disappeared.Less
The Civil War was a pivotal event in American political and social history. However, it also served as the hinge in the nation's cultural development, a turning point after which intellectual life and artistic expression were perceptibly different. Underneath the Civil War's romantic veneer lurked grim realities. Gender roles especially felt the conflict's transforming impact. Most of America's promising young writers and artists did not participate in the Civil War. The war reinforced Oliver Wendell Holmes, Jr.'s developed skeptical materialism. Walt Whitman had urged “relentless war” to end secession, but he, too, changed his exuberant tone after witnessing the war's grim reaping. The war's “mortal reality” gave greater depth, poignancy, and clarity to Whitman's Drum-Taps. Over the years Romanticism formed around the Civil War, making it stirringly unreal. The soul-numbing war depicted in John Esten Cooke and John W. De Forest's writings, Winslow Homer's illustrations, and Alexander Gardner's photographs soon disappeared.
Robin Moore and Elizabeth Sayre
- Published in print:
- 2006
- Published Online:
- January 2010
- ISBN:
- 9780195177893
- eISBN:
- 9780199864843
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195177893.003.0005
- Subject:
- Music, Theory, Analysis, Composition
This chapter provides Cuban Batá drumming in analytical perspective, covering: Listening To Afro-Cuban Batá Drumming; The Music Of Obatalá; and Drum Talk In Obatalá.
This chapter provides Cuban Batá drumming in analytical perspective, covering: Listening To Afro-Cuban Batá Drumming; The Music Of Obatalá; and Drum Talk In Obatalá.
Clarence Bernard Henry
- Published in print:
- 2008
- Published Online:
- March 2014
- ISBN:
- 9781604730821
- eISBN:
- 9781604733341
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604730821.003.0009
- Subject:
- Music, Ethnomusicology, World Music
This chapter sums up the key findings of this study on axé music and the African origins of Brazilian popular music. It explains that axé music and the African roots of Brazilian popular music are ...
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This chapter sums up the key findings of this study on axé music and the African origins of Brazilian popular music. It explains that axé music and the African roots of Brazilian popular music are embedded in a sacred/secular connection of religion, individual artists, Carnival organizations, music, musical instruments, drumming, dance, imagery, symbols, festive celebrations, and the richness of Afro-Brazilian culture. The chapter also highlights the role of West African àsé in Afro-Brazilians’ struggle for racial equality and economic opportunity.Less
This chapter sums up the key findings of this study on axé music and the African origins of Brazilian popular music. It explains that axé music and the African roots of Brazilian popular music are embedded in a sacred/secular connection of religion, individual artists, Carnival organizations, music, musical instruments, drumming, dance, imagery, symbols, festive celebrations, and the richness of Afro-Brazilian culture. The chapter also highlights the role of West African àsé in Afro-Brazilians’ struggle for racial equality and economic opportunity.
Richard K. Wolf
- Published in print:
- 2014
- Published Online:
- April 2017
- ISBN:
- 9780252038587
- eISBN:
- 9780252096501
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038587.001.0001
- Subject:
- Music, Ethnomusicology, World Music
Based on extensive research in India and Pakistan, this book examines the ways drumming and voices interconnect over vast areas of South Asia and considers what it means for musical instruments to be ...
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Based on extensive research in India and Pakistan, this book examines the ways drumming and voices interconnect over vast areas of South Asia and considers what it means for musical instruments to be voice-like and carry textual messages in particular contexts. The book employs a hybrid, novelistic form of presentation in which the fictional protagonist Muharram Ali, a man obsessed with finding music he believes will dissolve religious and political barriers, interacts with the book's field consultants, to communicate ethnographic and historical realities that transcend the local details of any one person's life. The result is a daring narrative that follows Muharram Ali on a journey that explores how the themes of South Asian Muslims and their neighbors coming together, moving apart, and relating to God and spiritual intermediaries resonate across ritual and expressive forms such as drumming and dancing. The story charts the breakdown of this naiveté. A daring narrative of music, religion and politics in late twentieth century South Asia, the book delves into the social and religious principles around which Muslims, Hindus, and others bond, create distinctions, reflect upon one another, or decline to acknowledge differences.Less
Based on extensive research in India and Pakistan, this book examines the ways drumming and voices interconnect over vast areas of South Asia and considers what it means for musical instruments to be voice-like and carry textual messages in particular contexts. The book employs a hybrid, novelistic form of presentation in which the fictional protagonist Muharram Ali, a man obsessed with finding music he believes will dissolve religious and political barriers, interacts with the book's field consultants, to communicate ethnographic and historical realities that transcend the local details of any one person's life. The result is a daring narrative that follows Muharram Ali on a journey that explores how the themes of South Asian Muslims and their neighbors coming together, moving apart, and relating to God and spiritual intermediaries resonate across ritual and expressive forms such as drumming and dancing. The story charts the breakdown of this naiveté. A daring narrative of music, religion and politics in late twentieth century South Asia, the book delves into the social and religious principles around which Muslims, Hindus, and others bond, create distinctions, reflect upon one another, or decline to acknowledge differences.
Kiri Miller
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199753451
- eISBN:
- 9780199932979
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199753451.003.0005
- Subject:
- Music, History, American, Ethnomusicology, World Music
This chapter focuses on two musicians who have used YouTube and their own websites to develop multimedia online curricula for teaching rock guitar and drums. David Taub’s NextLevelGuitar.com and Nate ...
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This chapter focuses on two musicians who have used YouTube and their own websites to develop multimedia online curricula for teaching rock guitar and drums. David Taub’s NextLevelGuitar.com and Nate Brown’s OnlineDrummer.com have each attracted thousands of students from around the world. The chapter shows how Taub, Brown, and their students have strategically adapted traditional pedagogical strategies and reshaped teacher-student (and student-student) relationships in a virtual transmission context. This chapter also addresses online teachers’ encounters with copyright law. Aspiring guitarists and drummers often seek out lessons because they want to learn to play songs by their favorite artists. Musicians routinely teach copyrighted material in private lessons, but publishing song lessons online can leave them vulnerable to account deletion or legal action. While bringing lessons into the digital public sphere makes them accessible to many more students, this new context also imposes new constraints on repertoire and teaching style.Less
This chapter focuses on two musicians who have used YouTube and their own websites to develop multimedia online curricula for teaching rock guitar and drums. David Taub’s NextLevelGuitar.com and Nate Brown’s OnlineDrummer.com have each attracted thousands of students from around the world. The chapter shows how Taub, Brown, and their students have strategically adapted traditional pedagogical strategies and reshaped teacher-student (and student-student) relationships in a virtual transmission context. This chapter also addresses online teachers’ encounters with copyright law. Aspiring guitarists and drummers often seek out lessons because they want to learn to play songs by their favorite artists. Musicians routinely teach copyrighted material in private lessons, but publishing song lessons online can leave them vulnerable to account deletion or legal action. While bringing lessons into the digital public sphere makes them accessible to many more students, this new context also imposes new constraints on repertoire and teaching style.
Peter Manuel
- Published in print:
- 2014
- Published Online:
- April 2017
- ISBN:
- 9780252038815
- eISBN:
- 9780252096778
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038815.001.0001
- Subject:
- Music, Ethnomusicology, World Music
Today's popular tassa drumming emerged from the fragments of transplanted Indian music traditions half-forgotten and creatively recombined, rearticulated, and elaborated into a dynamic musical genre. ...
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Today's popular tassa drumming emerged from the fragments of transplanted Indian music traditions half-forgotten and creatively recombined, rearticulated, and elaborated into a dynamic musical genre. A uniquely Indo-Trinidadian form, tassa drumming invites exploration of how the distinctive nature of the Indian diaspora and its relationship to its ancestral homeland influenced Indo-Caribbean music culture. The book traces the roots of neotraditional music genres like tassa drumming to North India and reveals the ways these genres represent survivals, departures, or innovative elaborations of transplanted music forms. Drawing on ethnographic work and a rich archive of field recordings, the book contemplates the music carried to Trinidad by Bhojpuri-speaking and other immigrants, including forms that died out in India but continued to thrive in the Caribbean. It reassessment of ideas of creolization, retention, and cultural survival defies suggestions that the diaspora experience inevitably leads to the loss of the original culture, while also providing avenues to broader applications for work being done in other ethnic contexts.Less
Today's popular tassa drumming emerged from the fragments of transplanted Indian music traditions half-forgotten and creatively recombined, rearticulated, and elaborated into a dynamic musical genre. A uniquely Indo-Trinidadian form, tassa drumming invites exploration of how the distinctive nature of the Indian diaspora and its relationship to its ancestral homeland influenced Indo-Caribbean music culture. The book traces the roots of neotraditional music genres like tassa drumming to North India and reveals the ways these genres represent survivals, departures, or innovative elaborations of transplanted music forms. Drawing on ethnographic work and a rich archive of field recordings, the book contemplates the music carried to Trinidad by Bhojpuri-speaking and other immigrants, including forms that died out in India but continued to thrive in the Caribbean. It reassessment of ideas of creolization, retention, and cultural survival defies suggestions that the diaspora experience inevitably leads to the loss of the original culture, while also providing avenues to broader applications for work being done in other ethnic contexts.
Nathan Hesselink
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780195384581
- eISBN:
- 9780199918331
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195384581.003.0007
- Subject:
- Music, Ethnomusicology, World Music
This chapter suggests the musical means by which rhythm and folk drumming embody and recreate what South Korean folklorists and anthropologists have identified in traditional village society as the ...
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This chapter suggests the musical means by which rhythm and folk drumming embody and recreate what South Korean folklorists and anthropologists have identified in traditional village society as the existence of a distinctive “communal consciousness.” Through a structural analysis of one village percussion ensemble’s core “piece” at the micro and macro levels, two key principles are exposed that account for such an awareness, principles referred to as recurrence and reinforcement. Focusing on the rhythmic cycle as the core building block of such performances, the discussion addresses the construction and placement of the cycles within the broader context of communal participation in the public sphere. While this acute sense of community has been demonstrated socially through political and familial ties that bind village inhabitants together in interconnected and interdependent ways, this essay provides a music-theoretical basis for its realization within the cultural-performative realm.Less
This chapter suggests the musical means by which rhythm and folk drumming embody and recreate what South Korean folklorists and anthropologists have identified in traditional village society as the existence of a distinctive “communal consciousness.” Through a structural analysis of one village percussion ensemble’s core “piece” at the micro and macro levels, two key principles are exposed that account for such an awareness, principles referred to as recurrence and reinforcement. Focusing on the rhythmic cycle as the core building block of such performances, the discussion addresses the construction and placement of the cycles within the broader context of communal participation in the public sphere. While this acute sense of community has been demonstrated socially through political and familial ties that bind village inhabitants together in interconnected and interdependent ways, this essay provides a music-theoretical basis for its realization within the cultural-performative realm.
