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MILITARISING MUSIC AND DEMILITARISING THE MILITARY: MAKING SENSE OF“MUSOJA”IN ZIMDANCEHALL MUSIC
14 references·3 citing·31 second hop
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References

  • 1990The Logic of Practice17,255 cited
  • 1997Representation: Cultural representations and signifying practices.7,801 cited
  • 2002Discourse Analysis as Theory and Method4,116 cited
  • 1993Writing security: United States foreign policy and the politics of identity1,729 cited
  • 2000Maneuvers1,579 cited
  • 2000Maneuvers: the international politics of militarizing women's lives1,016 cited
  • 2004The Curious Feminist790 cited
  • 1994Writing Security: United States Foreign Policy and the Politics of Identity.708 cited
  • 2016Action, Criticism, and Theory for Music Education340 cited
  • 2016Stuart Hall (Hg.): Representation. Cultural Representations and Signifying Practices, Sage: London/Thousand Oaks/New Delhi 2012 [erschienen 1997], 400 S210 cited
  • 1994Yearbook for Traditional Music, 23 (1991). Published by the International Council for Traditional Music. 198 pp. paperbound. Included with $30 ICTM membership. - Music and Dance of Aboriginal Australia and the South Pacific: The Effects of Documentation on the Living Tradition edited by Alice Marshall Moyle. Oceania Monograph 41. Sydney: University of Sydney, 1992. iv + 286 pp. paperbound. - Polynesian Music and Dance, by Richard Moyle. Auckland: Centre for Pacific Studies, University of Auckland, 1991. 64 pp. $10 paperbound.117 cited
  • 1982The Structure of Musical Discourse: The Problem of the Song Text34 cited
  • 2011The aesthetics of Winky D's Zimbabwe urban grooves music and an overview of his social commentary on the post-2000 experiences in Harare and other urban centres

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29 cited
  • 2013Discourse Analysis as Potential for Re-Visioning Music Education18 cited
  • Cited by

    • 2021Appreciating vulgarity in raw Zimdancehall music as expression of truth10 cited
    • 2025Singing truth to power: youth existential struggles and popular music in Zimbabwe5 cited
    • 2020In Pursuit of Recognition and the Expression of Power? Making Sense of Vulgarity in Zimdancehall4 cited