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''You better work.'': Music, dance, ...

Fikentscher, Kai.

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''You better work.'': Music, dance, and marginality in underground dance clubs of New York City.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	''You better work.'': Music, dance, and marginality in underground dance clubs of New York City./
作者:	Fikentscher, Kai.
面頁冊數:	267 p.
附註:	Source: Dissertation Abstracts International, Volume: 56-12, Section: A, page: 4601.
Contained By:	Dissertation Abstracts International56-12A.
標題:	American Studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9611152

''You better work.'': Music, dance, and marginality in underground dance clubs of New York City.
Fikentscher, Kai.

''You better work.'': Music, dance, and marginality in underground dance clubs of New York City. - 267 p.

Source: Dissertation Abstracts International, Volume: 56-12, Section: A, page: 4601.

Thesis (Ph.D.)--Columbia University, 1996.

This study of underground dance music (UDM) examines several aspects as part of an ongoing discussion on ethnomusicological topics in terms of subject matter, methodology and theory. These topics are the relationship between music and dance, the roles of the DJ as central figure in a specific musical context, and music as primary identifier of an urban subculture shaped primarily by gay and African American or Latino New Yorkers. By extension, this study also explores the connection between music and marginality, as enacted by bearers of African American and/or gay cultures in the performance context of UDM.Subjects--Topical Terms:

1017604
American Studies.

''You better work.'': Music, dance, and marginality in underground dance clubs of New York City.
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245 1 0 $a ''You better work.'': Music, dance, and marginality in underground dance clubs of New York City.
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500 $a Source: Dissertation Abstracts International, Volume: 56-12, Section: A, page: 4601.
500 $a Sponsor: Dan Ferguson.
502 $a Thesis (Ph.D.)--Columbia University, 1996.
520 $a This study of underground dance music (UDM) examines several aspects as part of an ongoing discussion on ethnomusicological topics in terms of subject matter, methodology and theory. These topics are the relationship between music and dance, the roles of the DJ as central figure in a specific musical context, and music as primary identifier of an urban subculture shaped primarily by gay and African American or Latino New Yorkers. By extension, this study also explores the connection between music and marginality, as enacted by bearers of African American and/or gay cultures in the performance context of UDM.
520 $a UDM is a post-disco phenomenon shaped chiefly by DJs and dancers. The DJ acts as authority figure in an environment defined by a dynamic interaction between himself as the person in charge of the music as sound, and the dancers who collectively are in charge of the music as motion. As a soundscape architect, the DJ constructs an uninterrupted musical program from preproduced, prerecorded sources, mostly 12-inch vinyl singles, and, through a powerful sound system, feeds it to the dance floor where dancers translate his "spinning" into theirs, his "working" into their "working out." The feedback between DJ booth and dance floor is dynamic and bidirectional, resulting in an interactive musical performance marked by a continuous exchange between the energies of sound and motion. This exchange is regulated primarily on the level of rhythm. In UDM performance, rhythm regulates the autonomy and interdependence of music and dance as separate, yet connected modes of musical performance.
520 $a The role of New York City as musical center is a final concern. This study probes UDM's ties to New York City as a geography which is home to various urban enclaves in which music plays a vital, defining role. It addresses the issue of UDM as a primary marker of a particular local musical culture specific to New York City as locale while exercising worldwide influence.
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