Ethnomusikologie

Analyzes how White American mainline Protestants used the internal musical controversies of the turn-of-the-millennium Worship Wars to negotiate their shifting position within the nation's diversifying religious and sociopolitical ecosystems.What if simply changing musical styles could resurrect social power and religious vitality? By the early 1990s, Christianity was losing ground nationally, and mainline Protestants were trending even Whiter and older than America's overall demographic trajectory. The churches knew they needed to diversify. Yet, many mainline churches focused their energies on the so-called Worship Wars, intense aesthetic and theological controversies running through much of White Christian America. Historically, churches had only supported one musical style; now, many mainline Protestant congregations were willing to risk internal schism to support both Contemporary worship-centered around guitars, praise bands, and choruses-and Traditional worship with its pipe organs, chancel choirs, and hymns. Surely, they thought, musical diversity would broadcast tolerance and bring in new members-perhaps it would even help them regain their historically central role in American society. Based on years of ethnographic research, (White)Washing Our Sins Away explores how American mainline Protestants used internal musical controversies to negotiate their shifting position within the nation's diversifying religious and sociopolitical ecosystems.

Women Behind The Mic: Curators of Pop Culture ~ Volume One ~ "Word To The Wise" contains the stories of 22 veteran Executives who were the engines behind the most iconic artists of all time. They are the industry "Sheroes" who quietly toiled in the trenches curating what is known as Hip Hop and Pop Culture today. Propelled by a Sisterhood that personifies excellence and the importance of maintaining a positive self-esteem while working in a male-dominated industry, the Women Behind The Mic (TM) share their front row seat stories while working behind-the-scenes with some of the biggest names in entertainment. Mary J. Blige, Salt-N-Pepa, The Notorious B.I.G., SWV, A Tribe Called Quest, Sean "Diddy" Combs, Run DMC, Too Short, and Aaliyah are just a few of the names found on these pages. After finding themselves repeatedly left out of recent Documentaries and Biopics, the Women Behind The Mic(TM) Movement/Book/Docu-Series/Lecture Series was birthed. These women now tell their own stories about the contributions women have made in significant ways to popular music and culture collectively. They have not only developed and made stars, but their joint efforts have led to trillions of records sold worldwide. About the Creators: LaJoyce Brookshire was a high-powered entertainment radio producer, program creator, and Director of Publicity at Arista Records in the 90s, handling artists such as "The Queen of Soul" Aretha Franklin, Sean "Puffy" Combs, Toni Braxton, Kenny G, OutKast, Monica, Deborah Cox, Craig Mack, Total, Faith Evans, 112, Usher, TLC, Whitney Houston, and The Notorious B.I.G., to name a few. Today, she is a New York Times Bestselling author and Naturopathic Doctor with a series of books residing in Pennsylvania with her husband and a college-aged daughter. Michelle Joyce is affectionately known as "The Digital Chick". Her stellar career began in music when she worked alongside Sean Combs as the Director of Marketing for Bad Boy Entertainment, with Mark Pitts at ByStorm Entertainment, and MCA Records. Over the course of her career she has conceived, developed, planned, and executed the marketing blueprints for artists like The Notorious BIG, Craig Mack, Faith Evans, Total, 112, Ashanti, Ghostface Killah, and Jaguar Wright to name a few. Today, she creates uber-successful digital strategies for clients residing in New Jersey with her husband.

TÜRK SANAT MÜZ¿¿¿ - Die türkische Kunstmusik, eine der größten Kunstmusiken der Welt. Sowohl Perser als auch Araber hinterließen tiefe Spuren in dieser Musik, die trotz ihres homophonen Charakters, da ihr keine Harmonie im klassischen Sinne innewohnt, einen beeindruckenden harmonischen Reichtum erlangt hat und mit der Expansion des Osmanischen Reiches in Südosteuropa und insbesondere dem Balkan, die Musiktraditionen dieser Länder (z. B. Bulgarien, Griechenland etc.) stark beeinflusst hat. Dieses Buch enthält über 50 der gängigsten Makamlar und ihre Tonleitern sowie deren Modulationen. Außerdem wird ausführlich auf das aktuelle türkische Kommasystem sowie die Geschichte der Tonleitern der türkischen Kunstmusik eingegangen, deren Wurzeln sich vom Osmanischen Reich über Arabien und Persien bis ins antike Griechenland zurückverfolgen lassen. Darüber hinaus geht es auch auf die Diskrepanzen zwischen der Musik, wie sie in osmanischer Zeit gespielt wurde und der heutigen Notation ein.

Musical media and the audio recording industry have an important and complex history in Newfoundland and Labrador: professional musicians, community songwriters, local institutions, and even politicians have gone on record. The result is a widespread body of work that undercuts the idea of recorded music as a cultural commodity and deepens the province's tradition of cultural activism. Drawing on contemporary testimony and over fifty years of interviews, On Record explores how recording projects have served as sonic signatures, forms of protest, homage, or parody of the foibles of those in power. Beverley Diamond examines how audio recording in Newfoundland and Labrador has been shaped not merely by creative individuals, but by such events as resettlement, residential schools, the cod moratorium, technological change, and disasters that have befallen those who live and work on the North Atlantic. A chapter by ethnomusicologist and musician Mathias Kom examines the widespread response to a unique annual "challenge" to make an audio recording. Spanning both commercial and community-oriented initiatives, this book reflects the vibrant, socially engaged, and resilient nature of communities that value simultaneously and equally the highest professional standards and the creative potential of every citizen. Encompassing music from both settler and Indigenous communities, On Record redefines the culture of a province that has most often been associated with traditional music, demonstrating that recording goes beyond the creation of a commodity: it responds to the present and to constructs of public memory.