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vamp

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Journal Articles
Journal of the American Musicological Society. 2019; 721181–243 doi: https://doi.org/10.1525/jams.2019.72.1.181
Published: 01 April 2019
...Braxton D. Shelley This article presents an analytical paradigm that employs the repetitive musical cycle known as “the vamp” to illuminate the interrelation of form, experience, and meaning in African American gospel music, focusing on music performed by gospel choirs with soloists. I argue that...
Journal Articles
Journal of the American Musicological Society. 2019; 723719–779 doi: https://doi.org/10.1525/jams.2019.72.3.719
Published: 01 December 2019
Journal Articles
Journal of the American Musicological Society. 2018; 712589–592 doi: https://doi.org/10.1525/jams.2018.71.2.589
Published: 01 August 2018
... Composition of Identity in Contemporary and Experimental Music . New York : Oxford University Press , 2018 . xiii, 184 pp. Weintraub, Andrew N. , and Bart Barendregt , eds. Vamping the Stage: Female Voices of Asian Modernities . Music and Performing Arts of Asia and the Pacific. Honolulu...
Journal Articles
Journal of the American Musicological Society. 2018; 711213–253 doi: https://doi.org/10.1525/jams.2018.71.1.213
Published: 01 April 2018
..., Rethinking Rape ; Davis, Women, Race and Class ; and hooks, Ain't I a Woman . Approaching the component parts of this myth from another angle, Helen Benedict's Virgin or Vamp , which studies the way rape is portrayed in the American media, remains relevant more than twenty years after its publication...
Journal Articles
Journal of the American Musicological Society. 2018; 711155–211 doi: https://doi.org/10.1525/jams.2018.71.1.155
Published: 01 April 2018
Journal Articles
Journal of the American Musicological Society. 2017; 703767–817 doi: https://doi.org/10.1525/jams.2017.70.3.767
Published: 01 December 2017
Journal Articles
Journal of the American Musicological Society. 2017; 702475–522 doi: https://doi.org/10.1525/jams.2017.70.2.475
Published: 01 August 2017
... Ashley, Perfect Lives: An Opera , which contains the opera's text and an essay by Ashley, “Robert Ashley Talks about Perfect Lives ” (149–87). The DVD is Ashley, Perfect Lives: An Opera for Television . 10. Jeremy Tambling discusses the broadcast in “Revisions and Re-vampings.” For a review, see...
Journal Articles
Journal of the American Musicological Society. 2011; 641179–238 doi: https://doi.org/10.1525/jams.2011.64.1.179
Published: 01 April 2011
Journal Articles
Journal of the American Musicological Society. 2010; 633499–551 doi: https://doi.org/10.1525/jams.2010.63.3.499
Published: 01 December 2010
Journal Articles
Journal of the American Musicological Society. 2008; 61167–121 doi: https://doi.org/10.1525/jams.2008.61.1.67
Published: 01 April 2008
Journal Articles
Journal Articles
Journal of the American Musicological Society. 2007; 601133–186 doi: https://doi.org/10.1525/jams.2007.60.1.133
Published: 01 April 2007
Journal Articles
Journal of the American Musicological Society. 2006; 593631–696 doi: https://doi.org/10.1525/jams.2006.59.3.631
Published: 01 December 2006
... Cuban tune appears in the vamp and in the last eight measures of the chorus; see Fig. 1), the song tells the story of Bridget McShane, an Irishwoman who poses as a Spanish dancer with the stage name Patricia Salome.32 An Irishman in the audience recognizes Bridget and calls her bluff; the scenario...
Journal Articles
Journal of the American Musicological Society. 2006; 593697–732 doi: https://doi.org/10.1525/jams.2006.59.3.697
Published: 01 December 2006
... evokes jazz, a song for the Ziegfeld Follies of 1920 called The Syncopated Vamp (Ex. 5).28 That song celebrates a jazzy Cleopatra from whose stylish clothes a little bit of her ankle shows, and whose vigorous dancing and bold flirtations make her, like jazz itself, both dangerous and irresistible...
Journal Articles
Journal of the American Musicological Society. 2006; 592465–472 doi: https://doi.org/10.1525/jams.2006.59.2.465
Published: 01 August 2006
... played segue). As it turns out, a notable melodic repetitiveness of short figures over a static or vamping harmony often a dominant characterizes all but one of the smorf- usages in the twelve examples listed above. With the one exception of the Adagio of Opus 39, no. 2 (which is anomalous in several...
Journal Articles
Journal of the American Musicological Society. 2004; 571119–174 doi: https://doi.org/10.1525/jams.2004.57.1.119
Published: 01 April 2004
... orientalism.40 Instead, Chinatown, My Chinatown relies on standard musical devices of the era: a short piano introduction and vamp; two verses and a chorus constructed with two- and four-bar phrases; and a syllabic, diatonic melody set to triadic harmonies and following tonal proce- dures.41 A significant...
Journal Articles
Journal of the American Musicological Society. 2002; 552311–336 doi: https://doi.org/10.1525/jams.2002.55.2.311
Published: 01 August 2002
Journal Articles
Journal of the American Musicological Society. 1980; 333501–543 doi: https://doi.org/10.2307/831304
Published: 01 October 1980
Journal Articles
Journal of the American Musicological Society. 1968; 213300–320 doi: https://doi.org/10.2307/830537
Published: 01 October 1968
... figures from the tablature, and above these the rhythmic values. Preceding each song is a rubric giving the number of a passacaglia whose tonality matches that of the song.37 Thus to Brigefio, and surely to any Spaniard, the passacaglia was introductory music, walk-on music if you will, a kind of "vamp...