Musicians and the Industry

Author(s):  
Aleysia K. Whitmore

This chapter shows how musicians translate their musics and cultures for European and North American audiences. Acting as businesspeople and artists, musicians work with industry personnel’s and audiences’ expectations to build their images, personae, and musics in ways that are satisfying for themselves and appealing to foreign audiences. The chapter shows how these musicians are historically aware cosmopolitan artists who continually (re)position themselves as they mediate personal identities, career goals, audience (mis)understandings, and the legacies of colonialism and postcolonial nationalism to create valuable musical experiences and products for themselves and for their European and American audiences. They (re)create ideas about their cultures, Africa, and the African diaspora as they use and push against discourses of alterity and universality.

2020 ◽  
Vol 100 (1) ◽  
pp. 35-62
Author(s):  
Isadora Moura Mota

Abstract This article approaches Brazil as a forgotten Atlantic battleground of the American Civil War. I explore armed confrontations of Union and Confederate vessels along the Brazilian coast as well as slave flight to North American ships to understand how the war inspired slaves to imagine their captivity undone in Brazil. In the 1860s, Afro-Brazilians rebelled at the sight of warships like the CSS Sumter in Maranhão or ran away to New England whalers in Santa Catarina, believing either that North American ships carried troops ready to uphold the abolition of slavery or that they would allow the enslaved to claim the principle of free soil. Afro-Brazilian geopolitical literacy, therefore, points to the importance of Brazil as a cradle of antislavery as well as a sounding board for a war that reverberated in all corners of the African diaspora.


Author(s):  
Abby Carlozzo

In this essay, Abby Carlozzo explores insights on improvisation gained from her fieldwork in Burkina Faso. She explores the philosophical and ideological tensions that arise from North American and European understandings of improvisation as a discrete creative practice vis a vis an “Africanist” perspective that understands improvisation as inextricably linked to the parameters of living and ever-evolving dance traditions. Carlozzo aligns her analysis with scholarship on improvisatory dance approaches and aesthetics in the African Diaspora and argues that “improvisation” in African dance contexts is better described as “stylistic innovation within form.”


2020 ◽  
Vol 29 (2) ◽  
pp. 259-264 ◽  
Author(s):  
Hasan K. Saleh ◽  
Paula Folkeard ◽  
Ewan Macpherson ◽  
Susan Scollie

Purpose The original Connected Speech Test (CST; Cox et al., 1987) is a well-regarded and often utilized speech perception test. The aim of this study was to develop a new version of the CST using a neutral North American accent and to assess the use of this updated CST on participants with normal hearing. Method A female English speaker was recruited to read the original CST passages, which were recorded as the new CST stimuli. A study was designed to assess the newly recorded CST passages' equivalence and conduct normalization. The study included 19 Western University students (11 females and eight males) with normal hearing and with English as a first language. Results Raw scores for the 48 tested passages were converted to rationalized arcsine units, and average passage scores more than 1 rationalized arcsine unit standard deviation from the mean were excluded. The internal reliability of the 32 remaining passages was assessed, and the two-way random effects intraclass correlation was .944. Conclusion The aim of our study was to create new CST stimuli with a more general North American accent in order to minimize accent effects on the speech perception scores. The study resulted in 32 passages of equivalent difficulty for listeners with normal hearing.


2006 ◽  
Vol 175 (4S) ◽  
pp. 511-512
Author(s):  
David G. McLeod ◽  
Ira Klimberg ◽  
Donald Gleason ◽  
Gerald Chodak ◽  
Thomas Morris ◽  
...  

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