rdf-syntax-grammar
mods:
  schema location: http://www.loc.gov/mods/v3 http://www.loc.gov/standards/mods/v3/mods-3-2.xsd
  title info:
    title: Profiles in courage
    sub title: practicing and performing at musical open mics and scenes
  name:
    name part: Aldredge, Marcus David.
    role:
      role term: creator
  name:
    name part: Henderson, Kathryn
    role:
      role term: thesis advisor.
  type of resource: text
  genre: bibliography
  origin info:
    place:
      place term: txu
    date issued: 2010
    issuance: monographic
  language:
    language term: eng
  physical description:
    form: remote
    extent: 1 online resource.
  abstract: This dissertation explores the social patterns and cultural layers of musical "open mics" in New York City. The study uses a qualitative approach which includes methods such as ethnography, in-depth interviewing, historical and discourse analyses focusing on open mics and the popular musicians who attend and perform them. Open mics, short for "open microphones," are public events that allow musicians to perform songs without a pre-planned, formal booking with a club or venue. Owing a historical and discursive connection to the folk hootenannies and jazz jam sessions of the past, these events have proliferated and spread considerably across the United States since the 1990s since their development, by name, in the late 1970s. Open mics not only reflect a do-it-yourself and participatory cultural ethos manifested with other recent expressive cultural activities, but also demonstrate a growing interstitial "musical third place" residing between private practicing and public performance. Musical open mics as musical third places provide musicians and singer/songwriters to network with other musicians, practice new musical compositions and play when other performance opportunities are not readily available. It provides a means for musicians to "hone their craft" in terms of performance methods and also construct musical identities in the almost exclusive company of other working singer/songwriters. This "backstage region" is thus framed and keyed by the musicians onto a continuum between two theoretical poles: performance practicing and practicing performance. Performance practicing as defined in this study frames a more performance-oriented display for musicians in locations called "closed open mics" or COMs. These settings, also residing on a theoretical continuum are socially more exclusive in terms of performance types, the aesthetic careers of the performers, the genres represented and the sociological makeup of the setting participants in general. OOMs or "open ope…
  note: by Marcus David Aldredge.
  note: "Major Subject: Sociology"
  note: Title from author supplied metadata (automated record created 2010-11-11 10:17:47).
  note: Electronic resource.
  note: Doctor of Philosophy Texas A&M University 2009 http://hdl.handle.net/1969.1/ETD-TAMU-2009-08-7193
  note: Includes bibliographical references.
  note: Text (Dissertation)
  subject:
    topic: Major Sociology
  subject:
    topic: Popular music
  subject:
    topic: creative class
  subject:
    topic: music and everyday life
  subject:
    topic: sociology of culture
  subject:
    topic: folk music
  subject:
    topic: third places
  subject:
    topic: ethnography
  subject:
    topic: cultural producers
  subject:
    topic: performance
  subject:
    topic: musical production
  subject:
    topic: popular culture
  subject:
    topic: scenes
  subject:
    topic: audience studies
  identifier: http://hdl.handle.net/1969.1/ETD-TAMU-2009-08-7193
  record info:
    record content source: TXA
    record creation date: 101203
    record change date: 20151202113108.0
    record identifier: in00002640195