LEADER 04718nam 2200589Ia 450 001 9910461667303321 005 20200520144314.0 010 $a3-8428-2845-4 035 $a(CKB)2670000000250462 035 $a(EBL)1035426 035 $a(OCoLC)815391710 035 $a(SSID)ssj0001073875 035 $a(PQKBManifestationID)11694421 035 $a(PQKBTitleCode)TC0001073875 035 $a(PQKBWorkID)11212603 035 $a(PQKB)11154577 035 $a(MiAaPQ)EBC1035426 035 $a(Au-PeEL)EBL1035426 035 $a(CaPaEBR)ebr10596604 035 $a(EXLCZ)992670000000250462 100 $a20120916d2012 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$a"Cashville"$b[electronic resource] $edilution of original country music identity through increasing commercialization /$fStephanie Scha?fer 210 $aHamburg $cDiplomica Verlag$d2012 215 $a1 online resource (120 p.) 300 $aDescription based upon print version of record. 311 $a3-8428-7845-1 320 $aIncludes bibliographical references. 327 $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 327 $aV. History of Country Music: Blending of Cultures vs. Preservation of Identity 1. Cowboy Music; 2. 1930's: Western Swing: Bob Wills; 3. The 1940's and 1950's; 3.1 Hillbilly/Honky-Tonk; 3.2 The Bar: An Alternative Home; 4. Reaching a Broader Audience: The Emergence of Radio Broadcasting; 5. Early 1970's: Cosmic Cowboy/ Outlaw Movement; 6. 1970's: Mainstream Country/Country-Pop; 7. Late 1970's/1980's: Urban Cowboy; 8. 1980's: New Traditionalists; 9. 1990's - Today: Young Country; VI. Musical Hybrids; 1. Alternative Country; 2. Country-Rock/Southern Rock/Americana 327 $a3. Blending of Cultures: Conjunto and Tejano Music VII. "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 327 $a4.6 "Gone Country": The Changing Face of Nashville VIII. 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" 327 $a3. Political Campaigns and Country Music 4. Country Musicians in Political Battle: Dixie Chicks vs. Toby Keith; X. Conclusion; XI. Bibliography; Author's Profile 330 $aHauptbeschreibung 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 Am 606 $aCountry music$xHistory and criticism 606 $aMusic trade$zTennessee$zNashville 608 $aElectronic books. 615 0$aCountry music$xHistory and criticism. 615 0$aMusic trade 676 $a781.642 700 $aScha?fer$b Stephanie$0903542 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910461667303321 996 $a"Cashville"$92019836 997 $aUNINA LEADER 01207nam0-2200373 --450 001 9910549501303321 005 20231215094127.0 010 $a978-88-7462-810-0 020 $aIT$b2016-6573 100 $a20220317d2016----kmuy0itay5050 ba 101 1 $aita$cfre 102 $aIT 105 $a 001yy 200 1 $aFictio legis$ela finzione romana e i suoi limiti medievali$fYan Thomas$ga cura di Michele Spanò$gcon un saggio di Michele Spanò e Massimo Vallerani 210 $aMacerata$cQuodlibet$d2016 215 $a115 p.$d19 cm 225 1 $aQuodlibet$v72 300 $aPubblicato originariamente in: Droits, 21 (1995), con il titolo: Fictio legis. 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