Related Papers
Athens of the South: College Life in Nashville, A New South City, 1897-1917
2008 •
Mary Ellen Pethel
Holding the Center: Olin Downes, Postwar Progressivism, and the Early Cold War
Harm Langenkamp
In the musicological literature, the controversial 1949 Cultural and Scientific Conference for World Peace is commonly discussed with reference to Dmitry Shostakovich and Aaron Copland. This paper discusses the Conference from the perspective of music critic Olin Downes, who resigned the chairmanship of the Fine Arts Panel after his integrity was questioned. Downes’s case is exemplary of those who in the polarized climate of the late 1940s struggled to hold the center, and, as do the governmental and private archival sources on which this study is predicated, prompts us to reassess common assumptions concerning the Conference’s political allegiance and provenance.
Performance Practice Review
The Antebellum "Piano Girl" in the American South
2008 •
Candace Bailey
Current Musicology
The Politics of Music: Women’s Music Education in the United States in the late 18th Century
2019 •
Christa Evans
“Something’s Happening Here!”: Popular Music Education in the United States
Bryan Powell, Andrew Krikun
Although the number of opportunities to learn popular music in the United States continues to grow, popular music education (PME) programs remain exceptional at primary, secondary, and tertiary levels of institutionalized music education. This article provides insight into the unique characteristics of a number of PME initiatives currently operating in the United States. A historical background is established to provide context regarding the history of PME in the United States. Additionally, a focus on an expanding landscape for American PME is included, as is an examination of six specific initiatives that are particularly noteworthy. This review of popular music programs, initiatives, and institutions illustrates the rapid proliferation of PME programs in the United States that has occurred in the twenty-first century. As this brief snapshot of American institutions and organizations demonstrates, PME in the United States is alive with possibilities and promise.
MuzikMafia: Community, Identity, and Change from the Nashville Scene to the National Mainstream
2007 •
David Pruett
In this dissertation I examine the MuzikMafia, a distinct musical community that developed from a stylistically diverse Nashville scene into a social collective and commercial enterprise, both of which emphasize musical excellence and promote musical and artistic diversity. In order to understand the MuzikMafia more deeply, I explore three of its defining structures: community, identity, and change. Analysis of each aspect provides insight into what the MuzikMafia actually is, the role of music in the lives of its members, and the reasons behind the MuzikMafia’s period of commercial growth and development from 2001 through 2005. I observe how a shared musical and social ideology created a bond between several marginalized Nashville artists and how that bond, or rather its commodification, transformed the MuzikMafia into a significant part of the commercial mainstream. The dispossessed interact with the dominant structures of capitalist society in a variety of ways. Music serves as a medium of expression and often as an agent of social change through individual and group action. The MuzikMafia is an example of one such dispossessed group that eventually gained national and international popularity. I argue that, despite its numerous anti-establishment sentiments, the MuzikMafia confirms if not supports the existing hegemony of Nashville’s commercial music industry. Based upon participant observation, oral history fieldwork, and behind the scenes experiences among several platinum-selling artists, this research provides new insight into the study of popular music, presenting evidence that, not only is ethnomusicological fieldwork in the popular mainstream possible, but such research contributes much to the ongoing development of ethnomusicology and popular music studies.
MuzikMafia: Community, Identity, and Change from the Nashville Scene to the Popular Mainstream
2007 •
David Pruett
ETHNIC MUSIC IN NASHVILLE: A CHORAL APPROACH
Felicity Mazur-Park
Ethnic Music in Nashville: A Choral Approach, a six-week unit plan designed for middle or high school choir, featured five prominent Nashville, Tennessee, world music cultures. These music-cultures, selected based on Metro Nashville Public School demographic information, were: Somali music, Kurdish music, mariachi, sacred harp, and Gospel music. As a result of this selection, the project addressed aspects of both immigrant and domestic folk music culture. After six lesson plans that explored each musical culture, the unit culminated in a performance of the a cappella choral piece, "One Language is Never Enough," that aimed to teach students about the music from these cultures in a way that was accessible to both middle and high school students. In addition to the piece and lesson plans, there were performance notes; an International Phonetic Alphabet transcription of the foreign text; and a unit website, which contained videos and background information. This project aimed to bring both domestic and foreign languages and musical cultures to students in an accessible and interactive way that improved both their understanding of the cultures and their musicianship skills. Potentially, it served the purpose of improving the understanding of Nashville students’ knowledge of their own folk music cultures.
Engaged the Journal of Tennessee State University
The Resilience of One Tennessee State University Professor in Providing a Path to Excellence for Youths
2013 •
sean daniels
Gender & History
Education and Empowerment: Cosmopolitan Education and Irish Women in the Early Nineteenth Century
2018 •
Mary Hatfield
