AMERICAN MUSIC最新文献_第6页

The Sonic Politics of the US Abortion Wars 美国堕胎战争的声音政治

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2021-10-01 DOI: 10.5406/americanmusic.39.3.0301

Rebecca Lentjes

{"title":"The Sonic Politics of the US Abortion Wars","authors":"Rebecca Lentjes","doi":"10.5406/americanmusic.39.3.0301","DOIUrl":"https://doi.org/10.5406/americanmusic.39.3.0301","url":null,"abstract":"On a rainy Saturday in May 2018, I visited an independent abortion clinic in the Southeast.1 Known as a “destination clinic” within the antiabortion movement, this abortion clinic gets bombarded by the sounds of hundreds of antiabortion protesters from multiple protest groups every weekend. In this city, a local noise ordinance permits amplified sound up to 75 decibels starting at 8:00 a.m., as long as the assembled faction applies for a sound permit up to a week before. According to volunteers and a clinic administrator, every week protesters from the same prayer ministries successfully apply for the permit. On Saturday mornings the protesters assemble on the sidewalk, road, and grassy area across the street from the clinic. As patients drive up the winding road toward the clinic, they become confused by the obstacle course they must navigate. The road is lined with groups of shouting protesters, police cars, and RVs offering “crisis pregnancy” care and free pregnancy tests. Individual protesters sometimes run out in front of the approaching vehicles, waving their hands and shouting, “No!,” “Stop!,” and “Don’t go in there!” When I visited, the first wave of protesters arrived and started setting up before the clinic opened at 7:30 a.m. A handful of protesters, the majority of whom were white men, gathered on the sidewalk under a","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43330149","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Nonmusicians as “Pillars” and “Icons” of US DIY Music Scenes 非商人是美国DIY音乐的“支柱”和“偶像”

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2021-10-01 DOI: 10.5406/americanmusic.39.3.0365

David Verbuč

{"title":"Nonmusicians as “Pillars” and “Icons” of US DIY Music Scenes","authors":"David Verbuč","doi":"10.5406/americanmusic.39.3.0365","DOIUrl":"https://doi.org/10.5406/americanmusic.39.3.0365","url":null,"abstract":"I start this article, which is about the role of nonmusicians in creating and sustaining music doityourself (DIY) scenes in the United States, with a short ethnographic and biographical insight into the article’s main concerns. I introduce in this regard a DIY organizer named Rick Ele and some of his ruminations on the topic. Rick was a longtime live music organizer in the Davis and Sacramento, California, DIY scenes, and in that way, although he is not a musician himself, significantly contributed to the local music DIY culture. He booked a significant proportion of all the DIY shows in the area in the late 1990s and the 2000s, and he also arranged regional and national tours for local DIY musicians. Rick often organized shows in multiple local DIY houses (including DAM Haus in Davis, where he lived for several years), in other local DIY spaces (e.g., the Hub in Sacramento), and in some local bars and community centers. He was also an active organizer of DIY shows in Portland, Oregon, for a brief period of time when he was studying there in the early 1990s. In addition, Rick was a radio DJ at the local student and community radio KDVS in Davis, where he also ran his own radio show, Art for Spastics, between 1995 and 2005. He also held various administrative positions at KDVS and was responsible for managing educational radio seminars for new volunteers in each new school term.","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42949060","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Race and the Legacy of the World’s Columbian Exposition in American Popular Theater from the Gilded Age to Show Boat (1927) 种族和世界哥伦比亚博览会在美国流行戏剧中的遗产，从镀金时代到秀船(1927)

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2021-10-01 DOI: 10.5406/americanmusic.39.3.0325

David C. Paul

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引用次数: 0

The Invention of Latin American Music: A Transnational History by Pablo Palomino (review) 巴勃罗·帕洛米诺的《拉丁美洲音乐的发明：跨国史》（综述）

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2021-10-01 DOI: 10.5406/americanmusic.39.3.0394

Eduardo Herrera

引用次数: 3

“One Fine Night in Veracruz” “韦拉克鲁斯的一个美好夜晚”

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2021-10-01 DOI: 10.5406/americanmusic.39.3.0265

Elisabeth Le Guin

引用次数: 0

Músicas coloniales a debate: Procesos de intercambio euroamericanos ed. by Javier Marín López (review) 殖民音乐辩论:欧美交流的过程，哈维尔编辑marin lopez(评论)

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2021-10-01 DOI: 10.5406/americanmusic.39.3.0391

W. Clark

引用次数: 0

Nostalgia for a Past Futurism: The Main Street Electrical Parade 怀念过去的未来主义:主街电气游行

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2021-07-01 DOI: 10.5406/americanmusic.39.2.0169

Elizabeth Randell Upton

{"title":"Nostalgia for a Past Futurism: The Main Street Electrical Parade","authors":"Elizabeth Randell Upton","doi":"10.5406/americanmusic.39.2.0169","DOIUrl":"https://doi.org/10.5406/americanmusic.39.2.0169","url":null,"abstract":"Disneyland plays with time and space, presenting fantasies based on displacement from the present. Frontierland invites guests to visit America’s past, while Tomorrowland sends them to the future; Adventureland draws on settings around the globe, while Fantasyland builds on stories of the European medieval past. As with the films on which it draws, Disneyland uses music as an element of theming, along with architecture, color, greenery, scent, and other background noises, to help set the stage for guests’ imagination of different places and times. However, when using music as scenery, historical accuracy often takes second place to emotional impact. The soundtrack for the 1973 (non-Disney) film The Sting provides a good example: while set in 1936, the film’s soundtrack features ragtime music by Scott Joplin written decades earlier. The anachronism doesn’t register for listeners because of the way the past is fungible; our sense of what is old-fashioned isn’t tied to some particular year, so anything “old-timey” can help create a sense of “pastness.” The Main Street Electrical Parade, introduced on the evening of June 17, 1972, was the first nighttime parade at Disneyland. With all the lights on Main Street turned off, twenty-two individual floats covered in six hundred thousand colored light bulbs create a dazzling and glittering effect.1 The twenty-minute parade ran at Disneyland for twenty-four","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45092403","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

From Moana to Vaiana: Voicing the French and Tahitian Dubbed Versions of Disney's Moana 从《海洋奇缘》到《瓦伊亚纳》:为迪斯尼电影《海洋奇缘》的法国和塔希提配音版本配音

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2021-07-01 DOI: 10.5406/americanmusic.39.2.0237

Colleen Montgomery

{"title":"From Moana to Vaiana: Voicing the French and Tahitian Dubbed Versions of Disney's Moana","authors":"Colleen Montgomery","doi":"10.5406/americanmusic.39.2.0237","DOIUrl":"https://doi.org/10.5406/americanmusic.39.2.0237","url":null,"abstract":"Since the 1990s, international box-office revenue has come to account for an increasingly large share of the major Hollywood studios’ theatrical profits, particularly for animated and family-oriented feature films.1 Reflecting this broader trend in the media industries over the last two decades, Walt Disney Animation Studios’ feature films have consistently derived 60 percent or more of total box-office income from international markets. As global film markets have become critical to Disney’s boxoffice success, the studio has concomitantly expanded its efforts significantly to localize its animated features for non-English-language audiences through voice dubbing. Since its establishment in 1988, the studio’s dubbing division, Disney Character Voices International (henceforth DCVI), has not only dramatically expanded its dubbing production budgets but also roughly doubled the number of dubbed versions it produces of each Disney animated feature. For example, whereas The Lion King (1994) was originally dubbed into fifteen languages, DCVI now routinely crafts upward of forty dubbed versions of each new Disney animated feature film. Indeed, Moana (2016), the focus of this study, was dubbed into a record forty-six languages and dialects. The studio’s heightened allocation of resources to its dubbing operations speaks not only to largescale economic trends in the global film industry but also to an awareness","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47179621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Earl Scruggs and “Foggy Mountain Breakdown”: The Making of an American Classic 厄尔·斯克鲁格斯与《雾山崩溃》：美国经典之作

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2021-07-01 DOI: 10.5406/americanmusic.39.2.0262

Sophia M. Enriquez

引用次数: 0

Snow White and the Seventh Art: Sound, Song, and Respectability in Disney's First Feature 《白雪公主与第七艺术》：迪士尼首部特辑中的声音、歌曲和尊重

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2021-07-01 DOI: 10.5406/americanmusic.39.2.0138

Daniel Batchelder

{"title":"Snow White and the Seventh Art: Sound, Song, and Respectability in Disney's First Feature","authors":"Daniel Batchelder","doi":"10.5406/americanmusic.39.2.0138","DOIUrl":"https://doi.org/10.5406/americanmusic.39.2.0138","url":null,"abstract":"Historians tend to gravitate toward beginnings. Accordingly, the sizeable body of literature surrounding the Walt Disney Studios’ Snow White and the Seven Dwarfs (1937) offers scholars a tantalizing collection of “firsts” that indicate the film’s momentous achievements in the history of cinema with little uncertainty.1 While Snow White was not the world’s first feature-length animated film, it was the first with sound, the first with color, and the first created using the technique of cel animation, requiring studio workers to hand-paint and individually photograph hundreds of thousands of celluloid panes. More broadly, Snow White also stands as the first animated feature to find lasting critical and popular success. The film received near unanimously glowing reviews in the American press, suggesting that the Walt Disney Studios’ herculean effort to create a movie without recourse to a direct predecessor had paid off handsomely. The Cleveland Plain Dealer’s W. Ward Marsh, for example, was not alone when he claimed that Snow White “is the greatest cartoon ever made. In many respects it is the greatest film ever produced.”2 Yet too concerted a focus on the film’s technical and critical achievements can blind us to the contemporary historical and cultural events that surrounded its creation. With a few noteworthy exceptions, film histories have tended to overlook a significant facet of Snow White’s many accomplishments: its status as the world’s first feature-length animated","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47820878","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0