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"Cashville" : Dilution of Original Country Music Identity Through Increasing Commercialization /
Hauptbeschreibung Where I come from, it's cornbread and chicken. This line from Alan Jackson's country hit defines the genre as the music of the American South. All its ambiguity set aside, the South stands proudly for its hospitality, politeness, sense of place and community. Family and r...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Hamburg :
Diplomica Verlag,
2012.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Schäfer, Stephanie. | |
| 245 | 1 | 0 | |a "Cashville" : |b Dilution of Original Country Music Identity Through Increasing Commercialization / |c Stephanie Schäfer. |
| 260 | |a Hamburg : |b Diplomica Verlag, |c 2012. | ||
| 300 | |a 1 online resource (116 pages) | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 504 | |a Includes bibliographical references. | ||
| 505 | 0 | |a "Cashville": Dilution of Original Country Music Identity through Increasing Commercialization; Table of Contents; I. Introduction: Country Music as Manifestation of Identity and Cultural Expression; II. Stereotypes and Recognition of American Country Music; III. Perspectives of Identity and Music: Social Identity Theory; 1. Country Music Identity; 2. Where I Come From: Southern Working Class Identity and Country Music; 2.1 Peculiarities of Southern Culture: Sense of Place; 2.2 Working-Class Culture; IV. Generic Themes of Country Music. | |
| 505 | 8 | |a V. History of Country Music: Blending of Cultures vs. Preservation of Identity1. Cowboy Music; 2. 1930s: Western Swing: Bob Wills; 3. The 1940s and 1950s; 3.1 Hillbilly/Honky-Tonk; 3.2 The Bar: An Alternative Home; 4. Reaching a Broader Audience: The Emergence of Radio Broadcasting; 5. Early 1970s: Cosmic Cowboy/ Outlaw Movement; 6. 1970s: Mainstream Country/Country-Pop; 7. Late 1970s/1980s: Urban Cowboy; 8. 1980s: New Traditionalists; 9. 1990s -- Today: Young Country; VI. Musical Hybrids; 1. Alternative Country; 2. Country-Rock/Southern Rock/Americana. | |
| 505 | 8 | |a 3. Blending of Cultures: Conjunto and Tejano MusicVII. "Don't Get Above Your Raisin'": Authentic Regional Identity vs.Commercialization; 1. Class Identity; 2. Authenticity and Commodification; 3. Back to the Roots: Country Identity and Regional Pride; 3.1 Texas Country; 3.2 Texas Regional Pride; 3.3 Austin and Lubbock -- Lone Star Country Music Arenas; 3.4 Anti-Nashville Sentiments; 4. Nashville Country; 4.1 The (Countrypolitan) Nashville Sound; 4.2 Commercialization and Performance; 4.3 Grand Ol' Opry; 4.4 Cowboy Lifestyle; 4.5 Back to the Roots: The Story of Willie Nelson. | |
| 505 | 8 | |a 4.6 "Gone Country": The Changing Face of NashvilleVIII. Preliminary Conclusion; IX. Red, White, and Blue: National Expansion of Country Music; 1. Country Music Goes to War; 1.1 World War II; 1.2 United Forces against Communism; 2. Walls came tumbling down: Country Music after 9/11; 2.1 Unity in Crisis: National Identity; 2.1.1 Toby Keith: "Courtesy of the Red, White, and Blue (The Angry American)"; 2.1.2 Alan Jackson: "Where Were You (When the World Stopped Turning)"; 2.2 Country Songs in the Patriotic Tradition; 2.2.1 Darryl Worley: "Have you Forgotten"; 2.2.2 Brooks & Dunn: "Holy War." | |
| 505 | 8 | |a 3. Political Campaigns and Country Music4. Country Musicians in Political Battle: Dixie Chicks vs. Toby Keith; X. Conclusion; XI. Bibliography; Author's Profile. | |
| 520 | |a Hauptbeschreibung Where I come from, it's cornbread and chicken. This line from Alan Jackson's country hit defines the genre as the music of the American South. All its ambiguity set aside, the South stands proudly for its hospitality, politeness, sense of place and community. Family and religion are traditionally more important down there than in the rest of the country. As Southern culture becomes more and more americanized and the music of the small town Southern man (another Jackson song) is adapted for a mainstream audience, the original rustic identity that defines the true American genr. | ||
| 590 | |a ProQuest Ebook Central |b Ebook Central Academic Complete | ||
| 650 | 0 | |a Country music |x History and criticism. | |
| 650 | 0 | |a Music trade |z Tennessee |z Nashville. | |
| 650 | 6 | |a Musique |x Industrie |z Tennessee |z Nashville. | |
| 650 | 7 | |a MUSIC |x Instruction & Study |x Theory. |2 bisacsh | |
| 650 | 7 | |a Country music |2 fast | |
| 650 | 7 | |a Music trade |2 fast | |
| 651 | 7 | |a Tennessee |z Nashville |2 fast |1 https://id.oclc.org/worldcat/entity/E39QbtfRCYvtCQc9gYwJbHvFTB | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast | |
| 758 | |i has work: |a "Cashville" (Text) |1 https://id.oclc.org/worldcat/entity/E39PCFKXHPQq7XKGgGgCbWv9wC |4 https://id.oclc.org/worldcat/ontology/hasWork | ||
| 776 | 0 | 8 | |i Print version: |z 9783842878457 |
| 856 | 4 | 0 | |u https://ebookcentral.uam.elogim.com/lib/uam-ebooks/detail.action?docID=1035426 |z Texto completo |
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