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Ethics and aesthetics: the social theory of barbershop harmony
9 references·3 citing·31 second hop
Ethics and aesthetics: the social theory of barbershop harmony (1999)Ethics and aesthetics: the social theory …The Barbershop Singer: Inside the Social World of a Musical Hobby (2000)The Barbershop Singer: Inside…The Barbershop Singer (1996)The Barbershop Singer"Play That Barber Shop Chord": A Case for the African-American Origin of Barbershop Harmony (1992)"Play That Barber Shop Chord"…Critical terms for literary study (1989)Critical terms for literary s…The New Harvard Dictionary of Music (1988)The New Harvard Dictionary of…The New Harvard Dictionary of Music (1987)The New Harvard Dictionary of…Style and Idea: Selected Writings of Arnold Schoenberg (1975)Style and Idea: Selected Writ…Elementary Harmony: Theory and Practice (1970)Elementary Harmony: Theory an…Consonance and Dissonance (1913)Consonance and DissonanceMusic, Encounter, Togetherness (2024)Music, Encounter, TogethernessRecordings, Technology, and Discourse in Collegiate A Cappella (2012)Recordings, Technology, and D…She Told Me What to Say: The Beatles and Girl‐Group Discourse (2005)She Told Me What to Say: The …Slave songs of the United States (1867)The Oxford companion to music (1943)Mister Jelly Roll: The Fortunes of Jelly Roll Morton, New Orleans Creole and "Inventor of Jazz" (1951)The Black Authentic: Structure, Style, and Values in Group Harmony (1997)White Face, Black Voice: Race, Gender, and Region in the Music of the Boswell Sisters (2007)White Masculinity in Barbershop Quartet Singing (2007)The Principles of Psychology (1891)Culture and the Self: Implications for Cognition, Emotion, and Motivation (1991)The way we think: conceptual blending and the mind's hidden complexities (2002)Soundings on a Relational Epistemology: Encountering Indigenous Knowledge through Interwoven Experience (2023)The Place of Story in the Study of Teaching and Teacher Education (1993)Poststructural feminism in education: An overview (2000)The Corporeal Politics of Quality (Suzhi) (2004)Chordal-tone doubling and the enhancement of key perception. (1993)Continuous Question-Answer Pairs (2020)Teaching Music Theory (2020)The Carolina Shaggers: Dance as Serious Leisure (2007)The Link between Successful Aging and Serious Leisure (2008)Blowing Open the Serious Leisure-Casual Leisure Dichotomy: What's In There? (2010)Riffs, Repetition, and Theories of Globalization (1999)The Propulsion Model of Creative Contributions Applied to the Arts and Letters (2001)Musical Witness and Holocaust Representation (2015)Eruptions: heavy metal appropriations of classical virtuosity (1992)Prosodic Processes in Language and Music (2006)Wellbeing and Integration through Community Music: The Role of Improvisation in a Music Group of Refugees, Asylum Seekers and Local Community Members (2019)Recent Trends in Ethnomusicology (1967)Estetyka muzyki (2007)The relationship between approaches to teaching, approaches to e-teaching and perceptions of the teaching situation in relation to e-learning among higher education teachers (2011)Roots of the Classical (2004)Writing With Wearables? Young Children’s Intra-Active Authoring and the Sounds of Emplaced Invention (2018)Volunteering: A Serious Leisure Perspective (1996)
this work references cited by second hop

References

  • 1989Critical terms for literary study1,249 cited
  • 1975Style and Idea: Selected Writings of Arnold Schoenberg237 cited
  • 1988The New Harvard Dictionary of Music216 cited
  • 1987The New Harvard Dictionary of Music169 cited
  • 2000The Barbershop Singer: Inside the Social World of a Musical Hobby78 cited
  • 1996The Barbershop Singer71 cited
  • 1970Elementary Harmony: Theory and Practice39 cited
  • 1992"Play That Barber Shop Chord": A Case for the African-American Origin of Barbershop Harmony38 cited
  • 1913Consonance and Dissonance25 cited

Cited by

  • 2024Music, Encounter, Togetherness17 cited
  • 2005She Told Me What to Say: The Beatles and Girl‐Group Discourse13 cited
  • 2012Recordings, Technology, and Discourse in Collegiate A Cappella3 cited

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