Hits 3.941 – 3.960 of 4.038
3941 |
Re-sounding Harlem Renaissance narratives : the repetition and representation of identity through sound in Nella Larsen's Passing and Toni Morrison's Jazz
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3942 |
The similarity of texted musical grammar to oral communication : exploring grammar, text and content with examples from fieldwork with Grupo Kultura
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3943 |
Bernstein's unanswered question: A journey from linguistic deep structure to the metaphysics of music.
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3944 |
The effects of music and the Somatron (RTM) on the physiological and speech responses of head injured and comatose subjects
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3946 |
The relationship between vocal pitch-matching and learning disabilities.
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3947 |
RHYTHMS OF RESISTANCE: ON RHETORIC AND REGGAE MUSIC (JAMAICA, RASTAFARI).
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3948 |
A HISTORY OF THE GREATER MIAMI OPERA: 1941-1983 (FLORIDA)
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3949 |
The dialectical structure of W. A. Mozart's "Die Zauberfloete": A phenomenological analysis. (Volumes I and II)
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3950 |
The Effect of Melodic and Rhythmic Interventions on Typical Hearing and Deaf/Hard-of-Hearing Preschool Children's Acquistion of Selected Vocabulary Words
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3951 |
Workers, Unite!: The Political Songs of Hanns Eisler, 1926-1932
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3952 |
A Comparison of Hearing and Deaf/Hard-of-Hearing Students' Use of Analytic, Figurative, and Temporal Language in Descriptions of Music
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3954 |
Appalachian Folksongs in the Choral Setting: Regional History, Traditional Performance Practice, and Guidelines for Arranging and Performance
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3955 |
¡Casinando!: Identity, Meaning, and the Kinesthetic Language of Cuban Casino Dancing
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Abstract:
A genre of Cuban music known as timba and a genre of Cuban social dance known as casino have often been mistakenly categorized as styles of salsa music and dance. Because of this association, along with political relations between the United States and Cuba, these genres have been marginalized in favor of mainstream salsa. In this thesis, I argue that casino and timba must be understood as distinct genres from an historical perspective. Additionally, I examine casino from a linguistic perspective and apply principles of linguistic relativity to create a linguistic analogy for social partner dance. By understanding casino and timba as separate from the international salsa phenomenon, they can be studied and appreciated as the unique cultural forms that they truly are. ; A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music. ; Spring Semester, 2012. ; March 26, 2012. ; Casino, Cuba, Dance, Ethnomusicology, Language, Salsa ; Includes bibliographical references. ; Frank Gunderson, Professor Directing Thesis; Michael Bakan, Committee Member; Charles Brewer, Committee Member.
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Keyword:
Music
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URL: http://diginole.lib.fsu.edu/islandora/object/fsu%3A185038/datastream/TN/view/%C2%A1Casinando%21.jpg http://purl.flvc.org/fsu/fd/FSU_migr_etd-5020
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3956 |
Historical, Cultural, Educational, and Traditional Influences in Irish Choral Settings from 1922 to the Present
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3957 |
The dialectical structure of W. A. Mozart's "Die Zauberfloete": A phenomenological analysis. (Volumes I and II)
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3958 |
Louis Moreau Gottschalk, John Sullivan Dwight, and the Development of Musical Culture in the United States, 1853-1865
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