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To browse Academia. You take a white right hand, and a black left hand, and what do you got? Son, you got rock and roll. Tom Perchard. Contemporary music historians have shown how taxonomic divisions of humanity—constructed in earnest by European anthropologies and philosophies from the Enlightenment on—were reflected in 18th and 19th-century theories of musical-cultural evolution, with complex and intellectualized art music forms always transcending base and bodily rhythm, just as light skin supposedly transcended dark.
The errors of old and now disreputable scholarly approaches have been given much attention. Individual musical sympathies are seen to be undermined by methods and assumptions common to the field in which theorists operate. Jon Stratton. Naomi Andre. It is a great title because it simultaneously does several things. Someone is taking this on.
Bohlman, do not balk and seem to be aware of what they are getti Kyra Gaunt. Charles Hersch. Robert Fink. A theoretical consideration of teleology in African-American popular music, focusing on the lates output of Motown Records. Soul music and culture, steeped in the aspirational drive of the black middle-class, falsifies this view of African-American popular music. Drawing on more recent analytical work on grooves Butler, Danielsen , a model of rhythmic teleology is developed and then tested on two seminal tracks produced by Norman Whitfield and sung by the Temptations.
Christophe Den Tandt. This paper analyzes the complex interethnic configuration that shaped the development of rock and roll in the s. Anna L C Wood. Miguel Metelo de Seixas. Damjan Ivetic. Omsk Scientific Bulletin. Series Society. Andrey Nekhaev. Wien Firdiansyah. Anna Gibbs. Constant Bonard. Ahmed Mousa Badawi. Leo Agustino. Sol Cortes. Alexander Zorin. Alistair Hobday. Lourdes Raymundo Sabino. Helena Larsson. Stephen Roulac. Danvee Floro. John Laird.
