Zeitschriftenartikel zum Thema „Art and Music in Britain“
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1
Guthrie, Kate. „Democratizing Art: Music Education in Postwar Britain“. Musical Quarterly 97, Nr. 4 (Dezember 2014): 575–615. http://dx.doi.org/10.1093/musqtl/gdv001.
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Barry, Malcolm. „Improvisation: the State of the Art“. British Journal of Music Education 2, Nr. 2 (Juli 1985): 171–75. http://dx.doi.org/10.1017/s0265051700004782.
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The writer examines the development of improvisation in Britain and especially jazz. The administrative and political implications of improvised music are explored and problems are identified to do with the freedom and excitement of such music and the dangers of education in improvisation.
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McGeary, T. „Handel as art collector: art, connoisseurship and taste in Hanoverian Britain“. Early Music 37, Nr. 4 (01.11.2009): 533–76. http://dx.doi.org/10.1093/em/cap107.
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Guthrie, Kate. „Propaganda Music in Second World War Britain: John Ireland's Epic March“. Journal of the Royal Musical Association 139, Nr. 1 (2014): 137–75. http://dx.doi.org/10.1080/02690403.2014.886430.
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ABSTRACTWhile biographical studies of British composers' experiences in the Second World War abound, little attention has been paid to how the demands of ‘total’ war impacted on music's ideological status. This article sheds new light on how composers and critics negotiated the problematic relationship between art music and politics in this period. John Ireland's Epic March – a BBC commission that caused the composer considerable anxiety – provides a case study. Drawing first on the correspondence charting the lengthy genesis of the work, and then on the work's critical reception, I consider how Ireland and his audiences sought to reconcile the conflicting political and aesthetic demands of this commission. With its conventional musical style, Epic March offers an example of a ‘middlebrow’ attempt to bridge the gap between art and politics.
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BORN, GEORGINA, und KYLE DEVINE. „Music Technology, Gender, and Class: Digitization, Educational and Social Change in Britain“. Twentieth-Century Music 12, Nr. 2 (26.08.2015): 135–72. http://dx.doi.org/10.1017/s1478572215000018.
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AbstractMusic technology undergraduate degree programmes are a relatively new phenomenon in British higher education, situated at the intersection of music, digital technologies, and sound art. Such degrees have exploded in popularity over the past fifteen years. Yet the social and cultural ramifications of this development have not yet been analysed. In looking comparatively at the demographics of both traditional music and music technology degrees, we highlight a striking bifurcation: traditional music degrees draw students with higher social class profiles than the British national averages, while their gender profile matches the wider student population; music technology degrees, by contrast, are overwhelmingly male and lower in terms of social class profile. We set these findings into analytical dialogue with wider historical processes, offering divergent interpretations of our findings in relation to a series of musical, technological, educational, social, political, and cultural-institutional developments in the late twentieth and twenty-first centuries. We ask what such developments bode for future relations between music, gender, and class in the UK.
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Kisby, Fiona. „A mirror of monarchy: Music and musicians in the household chapel of the Lady Margaret Beaufort, mother of Henry VII“. Early Music History 16 (Oktober 1997): 203–34. http://dx.doi.org/10.1017/s0261127900001728.
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Ever since the publication of Frank Harrison's book Music in Medieval Britain in 1958, the study of the cultivation of liturgical music in late-medieval England has been based on the institutional structure of the Church: on the cathedrals, colleges and parish churches, and on the household chapels of the monarchy and higher nobility both spiritual and lay. In that and most subsequent studies, however, male figures have been seen to dominate the establishments under investigation. If art history (perhaps musicology's closest sister discipline) can be shown to have characterised the patronage of Renaissance art as a system dominated by ‘Big Men’, so too has musicology placed the development of English liturgical music in a culture shaped largely by noble male patrons – kings, princes, dukes, earls, archbishops, bishops and the like.
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Сысолятин, Б. В. „MUSICAL FOLKLORE OF GREAT BRITAIN IN PERCY GRAINGER’S OEUVRE“. Music Journal of Northern Europe, Nr. 2(22) (08.05.2024): 33–51. http://dx.doi.org/10.61908/2413-0486.2020.22.2.33-51.
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В XX веке мир искусства искал новые способы выразительности. Академические каноны больше не работали, и поэтому многие художники, музыканты и писатели обратили свой взгляд на то, что ранее считалось экзотикой или низкой традицией, которую ещё надо облагородить. Австралийский композитор и выдающийся пианист Перси Грейнджер (1882–1961) был одним из таких новых творцов. Согласно собственной творческой философии он принялся искать новый музыкальный язык в природе и в «примитивном искусстве» – в фольклоре. Свои поиски он начал с фольклора Британских остров. Вместе с английскими композиторами, в начале XX века заинтересовавшимися народным искусством Великобритании (такими как Ральф Воан-Уильямс, Сирил Скотт, Сэсил Шарп и др.), он устраивал «охоту за песнями», во время которой колесил по английским графствам в поисках народной музыки. Он вошёл в историю музыки как дотошный исследователь, новатор и как композитор умело усвоивший язык и особенности британских народных мелодий. В статье рассказывается об особенностях исследовательского и композиторского метода Перси Грейнджера, а также рассматриваются некоторые его яркие произведения, в которых он применил опыт, полученный во время своих этномузыкологических экспедиций. In the 20th century the world of art was in the search of new ways of artistic expressiveness. Academic canons were not working anymore, and a lot of artists, musicians, and writers turned their eyes to what had been considered an exotic art or a low tradition which needed refining. An Australian composer and a distinguished pianist Percy Grainger (1882–1961) was one of those new creators. In accordance with his own creative philosophy, he started searching for a new musical language in nature and in the “primitive art” – in folklore. He began his search from the musical folklore of the British islands. Together with the English composers who in the beginning of 20th century became interested in folk art of Great Britain (such as Ralph Vaughan Williams, Cyril Scott, Cecil Sharp, and others), he organized “folk-song-hunts”, during which he travelled about England’s counties in search of folk music. He went down in music history as a meticulous researcher, an innovator, and a composer who skillfully absorbed the language and features of British folk tunes. The article covers the peculiarities of Percy Grainger’s methods of research and composing music. In addition, the article examines some of the composer’s outstanding works in which he used the experience gained during his ethnomusicological expeditions.
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Cohen, Selma Jeanne. „Music hall ballet in Britain“. Dance Chronicle 16, Nr. 1 (Januar 1993): 129–31. http://dx.doi.org/10.1080/01472529308569118.
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GUTHRIE, KATE. „Vera Lynn on Screen: Popular Music and the ‘People's War’“. Twentieth-Century Music 14, Nr. 2 (Juni 2017): 245–70. http://dx.doi.org/10.1017/s1478572217000226.
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AbstractBy the outbreak of the Second World War in Britain, critics had spent several decades negotiating the supposed distinctions between highbrow and lowbrow culture, as recent scholarship has shown. What has received comparatively little attention is how the demands of wartime living changed the stakes of the debate. This article addresses this lacuna, exploring how war invited a reassessment of the relative merits of art and popular music. Perhaps the most iconic British singer of the period, Vera Lynn provides a case study. Focusing on her first film vehicle,We'll Meet Again(1942), I explore how Lynn's character mediated the highbrow/lowbrow conflict – for example, by presenting popular music as a site of community, while disparaging art music for its minority appeal. In so doing, I argue, the film not only promoted Lynn's star persona, but also intervened in a broader debate about the value of entertainment for a nation at war.
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Porter, Laraine. „OK for Sound? The Reception of the Talkies in Britain, 1928–32“. Journal of British Cinema and Television 17, Nr. 2 (April 2020): 212–32. http://dx.doi.org/10.3366/jbctv.2020.0520.
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The arrival of the talkies in Britain evoked mixed responses. While popular audiences enthusiastically embraced Hollywood musicals like the Al Jolson hit The Singing Fool (1928), the literati were often scathing of ‘mechanical’ music and dialogue. Hollywood dictated the speed of change and economics and public demand soon forced the British film industry to convert to sound, but critics, intellectuals, educators, artists, literary figures and musicians were openly hostile to the new art form, opening a chasm between popular taste and intellectual response. The cacophony of dissenting voices was joined by various official reports from bodies like the Trades Union Congress and the Federation of British Industries who predicted the deleterious effect of the talkies on everything from British jobs in manufacturing to diminishing Britain's influence across its colonies and dominions. This article will map these discourses and examine attitudes to the introduction of the talkies in Britain between 1929 and 1932 as the new technology gathered momentum across the UK and film criticism developed as a distinct discipline.
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Shelepnytska-Govorun, Natalia. „PERIODIZATION OF VOCAL CULTURE DEVELOPMENT OF MUSIC ART SPECIALISTS IN EUROPE“. Academic Notes Series Pedagogical Science 1, Nr. 195 (2021): 49–52. http://dx.doi.org/10.36550/2415-7988-2021-1-195-49-52.
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The article shows the periods of vocal development culture of music specialists in Europe. The article considered preconditions for the development of vocal culture of music art specialists in Europe. The table «Evolution of the development of vocal culture of music professionals in Europe during different stages» is presented in the article. It shows a brief description of the epoch and period. The article gave in more detail the features of formation of vocal culture of musical art specialists are determined, and also their characteristic in the European countries, such as: Italy, Germany, Great Britain, France, Austria, Poland. The emphasis of vocal culture, one of the most important components of the professional culture of music artists, is due to the specifics of his vocal and pedagogical activities, which is aimed at forming a personality capable of reproducing and enriching the culture of society in the future. The culture of future specialists in the art of music has undergone certain periods in the process of socio-cultural development. It, as a phenomenon of pedagogical practice, has always existed, but had different social and professional purposes depending on the influence of various factors: the political situation; moral relations that developed in society; dominant religion; type of education. Of course, knowledge of the origins, knowledge of the periods of origin and development of musical art, which took place over the centuries, is important for understanding both the current challenges of vocal culture and to determine its further development. It should be noted that the curricula of European countries provide broad training of music professionals, expanding the sector of music specialties, including training: choir directors, specialists in individual vocal technique, vocal ensembles, choral singing, dominated by the practical orientation of professional education. Thus, the analysis of literary scientific sources on the formation of vocal culture of music artists shows that each stage was a unique and significant contribution to the formation of such culture in Europe. It should be noted that the curricula of European countries provide broad training of music professionals, expanding the sector of music specialties, including training: choir directors, specialists in individual vocal technique, vocal ensembles, choral singing, dominated by the practical orientation of professional education. Thus, the analysis of literary scientific sources on the formation of vocal culture of music artists shows that each stage was a unique and significant contribution to the formation of such culture in Europe.
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Postolenko, Iryna. „PRACTICAL IMPLEMENTATION OF EDUCATIONAL PROGRAMS IN MODERN SCHOOLS IN GREAT BRITAIN“. Psychological and Pedagogical Problems of Modern School, Nr. 2(6) (21.12.2021): 13–19. http://dx.doi.org/10.31499/2706-6258.2(6).2021.247507.
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The article considers the practical implementation of educational programs in modern schools in Great Britain. The main methodological approaches to the implementation of the content of educational subjects are studied. The peculiarities of the organization of the pedagogical process during the study of core and basic subjects in British schools are studied in detail, namely, English, mathematics, science, art and design, citizenship, technology and design, geography, history, ICT, modern foreign languages, music, physical education, personal, social, health education, religious education. The pedagogical process in terms of the educational component, organization of extracurricular work with students is also analyzed. It is noted that the involvement of students in extracurricular activities helps to improve their academic performance. Students are mainly involved in the following activities: Dance, Drama, Life-saving, Swimming, Gymnastics, Athletics, Volleyball, Netball, Football, Badminton, Aerobics, Basketball. They also have the opportunity to attend science and mathematics clubs, computer clubs, languages and technology clubs, additional Mathematics groups, participate in the choir and the School Orchestra. Leisure clubs allow students to unite in common interests, engage in music, dance, theater, scouting, sports, games, design, decorative jewelry, and more. In their free time, students visit other schools, industrial enterprises, and farms. Students also have trips to the sea, local churches, art galleries, museums, theaters, etc. In addition, students participate in sports competitions not only among students in the school but also students of other schools in the county.
Keywords: educational programs; educational activity; methodological approaches; key stages of education; British schoolchildren; core subjects; basic subjects; extracurricular activities.
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McKinnon, Dugal. „Dead Silence: Ecological Silencing and Environmentally Engaged Sound Art“. Leonardo Music Journal 23 (Dezember 2013): 71–74. http://dx.doi.org/10.1162/lmj_a_00158.
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Silencing and musicalization, as defined by Douglas Kahn, are valuable means to call attention to the sonically liminal. They create a frame within which acoustic silence can be attended to, either as a conceptual phenomenon or as the dead silence of sounds and soundmakers subjected to ecological silencing. Through critical discussion of silence in Kahn's writing on John Cage, as well as in acoustic ecology and soundscape composition, an outline of ecological silencing is developed and applied through the examination of environmentally engaged sound works by Sally Ann McIntyre of New Zealand and Katie Paterson of Great Britain.
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Frantzen, Allen J. „The Handsome Sailor and the Man of Sorrows: Billy Budd and the Modernism of Benjamin Britten“. Modernist Cultures 3, Nr. 1 (Oktober 2007): 57–70. http://dx.doi.org/10.3366/e2041102209000318.
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Allen Frantzen's essay examines Benjamin Britten's “Billy Budd” (1951) in relation to the Festival of Britain, treating the opera as an example of a more conservative “mid-century modernism.” Frantzen analyzes in depth the changes Britten's librettists, E. M. Forster and Eric Crozier, made to the novella by Melville, in order to conclude that Britten's opera offers an art that seeks to establish itself within English society and culture, but that nevertheless makes clear, both in its music and text, that change is on its way.
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Tusheva, Viktoriya. „STUDY OF SCIENTIFIC RESEARCH CULTURE OF FUTURE MUSIC TEACHERS IN EUROPEAN COUNTRIES“. 1 1, Nr. 1 (September 2020): 23–29. http://dx.doi.org/10.34142/27091805.2020.1.01.04.
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Object. In the article taking into account forming of European educational space orientated on rapprochement of the systems of training of pedagogical personnels in the countries of European union, actuality of the research-oriented studies as innovative is grounded. Methods. On the basis of comparativist analysis the different vectors of refraction of theoretical and practical experience are considered in relation to forming of scientifically-research culture of teachers, future teachers of musical art, in European countries (To Germany, Poland, Great Britain). Results. It was found that in the European pedagogical space there is a significant number of teacher training programs «teacher-scientist», «teacher-researcher», «teacher who reflexively self-governs», «teacher - reflexive practice». In these programs, the conditions for organizing the training of future teachers, the nature of educational interaction are transformed and subject to the requirements of research. The German pedagogical system is based on W. Humboldt’s concept of higher education and determines that the specialty «music teacher» is based on three «whales» - creativity, science and pedagogy. It is established that in Poland the master’s research is considered as a didactic category in art education and requires different ways of organizing scientific and pedagogical guidance; in the Great Britain, the education and development of a teacher-researcher, a thinking practitioner, is a personal marker of his competence and professionalism. Conclusions. Factors influencing the development of critical, interdisciplinary, analytical, methodological thinking of the future specialist and creating the necessary foundation for the formation of his research culture are identified. This is raising the level of scientific and methodological education, the fundamentalization of the educational space, its «learning», the intensification of research, reflection, innovative forms of learning.
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Moore, James Ross. „The Gershwins in Britain“. New Theatre Quarterly 10, Nr. 37 (Februar 1994): 33–48. http://dx.doi.org/10.1017/s0266464x00000075.
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Overwhelmingly, the British reputation of George Gershwin is as a ‘serious’ composer: but this is liable to obscure not only the contributions he and his brother Ira made to the popular music theatre in Britain, but also, conversely, the British influences upon this seemingly all-American pair. George was profoundly influenced by that pre-eminent American Anglophile of his time, Jerome Kern, while British influences upon the semi-scholarly Ira extended far beyond W. S. Gilbert and P. G. Wodehouse. After ‘Swanee’ swept Britain in 1920, and George had honed his art and craft by writing the score for the West End revue, The Rainbow (1923), came the musical comedy, Primrose (1924) – its score his first to be published, and including some of his earliest orchestrations. A prototype of the frivolous comedies of the era, Primrose marked the first time the brothers were billed together as the Gershwins, since Ira had earlier written as ‘Arthur Francis’: it was also the immediate precursor of their first great Broadway hit, Lady, Be Good! Finally, in 1928, Ira collaborated, without George, on the London show That's a Good Girl – though Damsel in Distress, the brothers' last film musical, was a valedictory to the British-American musical comedy of the era. James Moore's earlier transatlantic study, of Cole Porter in Britain, appeared in NTQ30 (1992), and his Radio Two programme on the revue producer André Charlot was broadcast in October 1993.
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Guzy-Pasiak, Jolanta. „Polish musical life in Great Britain during the Second World War“. Muzyka 64, Nr. 1 (01.04.2019): 144–53. http://dx.doi.org/10.36744/m.249.
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The present article is the first attempt to provide a comprehensive – as much as the available sources allow – presentation of Polish music in Great Britain during the war, without any claims to completeness. The main institution attracting Poles in London was, practically from the beginning of the war, Polish Hearth, founded by Polish artists, scholars and writers. The Polish Musicians of London association with Tadeusz Jarecki organised classical music concerts and published contemporary works by Polish composers. The organisation was instrumental in the founding of the London Polish String Quartet. The BBC Radio played a huge role in the popularisation of the Polish repertoire and Polish artists, broadcasting complete performances. What became an extremely attractive form of promoting Polish art were the performances of the Anglo-Polish Ballet, founded by Czesław Konarski and Alicja Halama in 1940. The post-war reality meant that most of the scores published at the time were arrangements of soldiers’, historical, folk and popular songs characterised by simple musical means suited to the capabilities of army bands, but conveying the spirit accompanying the soldiers of the Polish Armed Forces during the Second World War. Polish Army Choir established, as the first among such ensembles, on Jerzy Kołaczkowski’s initiative.The author hopes to prompt further studies into the history of migrations of artists and work on monographs on the various composers and performers. Undoubtedly, there is a need to bring this part of our musical culture to light, especially given the fact that interest in Polish music abroad has been growing in recent years.
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Cloonan, Martin. „‘I fought the law’: popular music and British obscenity law“. Popular Music 14, Nr. 3 (Oktober 1995): 349–63. http://dx.doi.org/10.1017/s0261143000007789.
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In Britain the term ‘obscenity’ has enjoyed a chequered career. Obscene libel first became an offence in 1727 when an erotic book called Venus in the Cloister was found to contravene common law by tending to ‘weaken the bonds of civil society, virtue and morality’ (Robertson 1991, p. 180). Despite this, erotic literature remained freely available throughout the eighteenth century. In the nineteenth century Britain got its first Obscene Publications Act. This came in 1857 and gave the police power to take books before local Justices who could order their forfeiture and destruction.
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Fargion, Janet Topp. „African Music in the World and Traditional Music Section at the British Library Sound Archive“. History in Africa 31 (2004): 447–54. http://dx.doi.org/10.1017/s0361541300003600.
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It is widely accepted that the development of recording technology played an important role in the development of ethnomusicology as a discipline. For the first time, from the late nineteenh century, music could be recorded for use in scientific comparison and analysis. Jaap Kunst once wrote: “ethnomusicology could never have grown into an independent science if the gramophone had not been invented.” But the significance of recorded performance—the most objective way of capturing oral tradition—for the understanding of all aspects of culture must not be underestimated, particularly, but not exclusively, for nonliterate societies. “Oral tradition should be central to students of culture, of ideology, of society, of psychology, of art, and … of history.” And sound archives should be perceived as essential to research, “equivalent to libraries in other disciplines insofar as their importance in research is concerned.”Almost immediately after the advent of recording technology in the late 1870s, sound archives began to emerge: the first in Europe was the Phonogrammarchiv of the Austrian Academy of Science in 1899. Britain came late to the field: the British Institute of Recorded Sound was established with private funds only in 1947; it received its first grant-in-aid in the 1960s and in 1983 it became part of the British Library, known as the National Sound Archive.
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Caston, Emily. „The Pioneers Get Shot: Music Video, Independent Production and Cultural Hierarchy in Britain“. Journal of British Cinema and Television 16, Nr. 4 (Oktober 2019): 545–70. http://dx.doi.org/10.3366/jbctv.2019.0498.
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This article identifies and summarises the main findings of the AHRC research project ‘Fifty Years of British Music Video, 1966–2016’. It contextualises the history of music video as a film practice within an unspoken cultural hierarchy of screen arts widely shared in universities, policy circles and the British Film Institute. The article documents the main stages in the development of the music video industry and highlights the extent to which the pioneers served as early adopters of new technologies in videotape, telecine and digital film-making. The ACTT consistently lobbied against music video producers, as did the Musicians’ Union, and consequently music video producers emerged from the 1980s with virtually no protection of their rights. The ACTT's issue was new video technology which it opposed. It also opposed offline editing on video tape because it would lead to redundancies of film editors and potentially required fewer post-production crew. The MU's issue was royalty payments to session musicians and lip synch. The music video industry has functioned as a crucial R&D sector and incubator for new talent and new technologies in the British film and television industries as a whole, without experiencing any of the financial rewards, cultural status or copyright protections of the more esteemed ‘screen arts’.
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Collins, Marcus. „‘I say high, you say low’: the Beatles and cultural hierarchies in 1960s and 1970s Britain“. Popular Music 39, Nr. 3-4 (Dezember 2020): 401–19. http://dx.doi.org/10.1017/s0261143020000458.
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AbstractThe debate over the cultural value of the Beatles was as vehement as it was significant in 1960s and early 1970s Britain. Lennon and McCartney's early compositions received some early critical plaudits, Sgt. Pepper sought to blur distinctions between high and low culture and the band members’ side projects forged links with the avant garde. To accept the Beatles as artists, however, required critics to rethink how art was created, disseminated and evaluated and how it interacted with contemporary social, economic and technological change. This article makes extensive use of contemporary journalism, scholarship and fan literature, much of it unstudied, to demonstrate that the rethinking process was contested and protracted. No consensus emerged. Claims made for their artistry, which contributed to a wider discourse elevating ‘rock’ over ‘pop’, were countered by cultural conservatives who defended their own status as artists and intellectuals by exposing the Beatles as kitsch.
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Morris, Carl. „The rise of a Muslim middle class in Britain: Ethnicity, music and the performance of Muslimness“. Ethnicities 20, Nr. 3 (11.01.2019): 628–48. http://dx.doi.org/10.1177/1468796818822541.
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This paper uses original fieldwork data to examine the role of class and ethnicity in shaping performed identities for Muslim musicians. It claims that the emergence of a Muslim public sphere in Britain – which includes music as one important cultural component – is implicated by dominant notions of Muslimness that are developed in a field of power relations structured by class and ethnicity. The central claim of this paper is that an assertion of middle-class values and tastes can inform notions of Muslimness and that these are interwoven with the differential experiences of diverse Muslim ethnic groups in Britain. As evidence for this, the paper examines the ways in which this relationship between class and ethnicity is manifested in the Muslim public sphere through the performed identities of Muslim musicians. This includes a consideration of the influence of a broadly defined Middle Eastern/middle-class consumer culture on an ‘Islamic pop’ music scene in Britain, as well as the strategic responses – including acquiescence, navigation and resistance – from South Asian and Black Muslim musicians to the dominance of this cultural context. Overall, the paper concludes that the intersectional nature of Muslimness, with particular reference to class and ethnicity, must be examined further to fully understand the developing dynamics of an emergent Muslim public sphere in Britain.
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Tackley, Catherine. „Shanty singing in twenty-first-century Britain“. International Journal of Maritime History 29, Nr. 2 (Mai 2017): 407–21. http://dx.doi.org/10.1177/0843871417694014.
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The revival of the shanty accompanied the decline of the UK’s shipping industry in the mid-twentieth century. It was dominated by the larger-than-life figure of Stan Hugill, a former shantyman who ensured the continuation of this musical tradition through his performances and books. But in fact, as shanty authority the late Roy Palmer has pointed out, the idea of reviving a dying art had been a concern by the end of the nineteenth century. Following this, folk-song collectors like Cecil Sharp made concerted efforts to document shanties but also to make adaptations (such as censoring the lyrics and providing piano accompaniments) to enable them to be performed on land – even on the concert platform – by those who had little or no direct experience of seafaring. Although this seems to be the complete opposite to Hugill’s approach of connecting the songs with their traditional maritime context, both aimed to ensure that shanties remained relevant. This article considers the continuation of these attitudes to the shanty in the twenty-first century. The recent resurgence in shanty singing in the UK has taken place alongside the regeneration of many UK port areas, the (re-)development of sailortowns as contemporary tourist destinations and associated attempts to connect the public with maritime heritage. I will focus in particular on the Falmouth (Cornwall) International Sea Shanty Festival, exploring the aims and motivations of different performing groups and analysing their contemporary approaches to music which is inextricably linked with seafaring history.
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WILSON, ALEXANDRA. „Killing time: Contemporary representations of opera in British culture“. Cambridge Opera Journal 19, Nr. 3 (17.10.2007): 249–70. http://dx.doi.org/10.1017/s0954586707002364.
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ABSTRACTRecent debates about ‘high’ and ‘low’ culture and the perceived repositioning of such categories have had potentially profound implications for opera. British artist Sam Taylor-Wood’s video installation Killing Time (1994) provides a useful starting point from which to explore these polemics. By juxtaposing images of mundane daily life with a soundtrack drawn from Strauss’s Elektra, Taylor-Wood seems to present opera and ‘the everyday’ as irreconcilable. Yet, the perception of opera as highbrow has by no means been a historical constant in Britain. This article considers the extent to which opera may be regaining the ‘entertainment status’ it enjoyed for a period during the late nineteenth century, or whether its perception as an ‘elite’ product is more deeply ingrained in British culture than ever before. Killing Time’s critique of opera and the commentary it offers on voice, art as redemption, and the politics of participatory art are analysed and contrasted with the representation of opera in a more ‘popular’ medium, a reality television series in which members of the public were trained as opera singers. The article concludes that, while popular culture seems able to embrace opera, the more uneasy relationship today is that between opera and other forms of ‘high art’.
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Parker, Lawrence. „Not going 'pop': the aesthetic criticism of early British Maoism“. Twentieth Century Communism 22, Nr. 22 (12.09.2022): 141–65. http://dx.doi.org/10.3898/175864322835917900.
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If people think about Maoist/anti-revisionist groups in countries such as Britain, they are often seduced by an impression of exoticism and the incompatibility of such groups with a more humdrum native left-wing culture. What is also significant about such groups is the depth of their ideological inheritance from the Soviet-inspired world communist movement. This is particularly clear in relation to such groups' cultural criticism. Cultural products such as folk or pop music tended to be reduced to simplistic class designations (i.e.bourgeois art) and were often ruthlessly dismissed, sometimes for an apparent propensity to lead to fascism. Maoists called for a more political, communist art as an alternative, focused on serving the struggle for proletarian revolution. It's important to grasp that such criticism wasn't set apart from previous inner-CPGB debates on cultural issues, where the oppositional left that had been apparent in the party since the Second World War had retained the thrust of the Zhdanov doctrine emphasised by the party majority in the immediate post-war years. This article explores the aesthetic responses of a number of groups that developed during the first wave of international Maoism in the 1960s and measures them against inner-CPGB differences on art and culture.
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SLOAN, RACHEL. „THE CONDITION OF MUSIC: WAGNERISM AND PRINTMAKING IN FRANCE AND BRITAIN“. Art History 32, Nr. 3 (Juni 2009): 545–77. http://dx.doi.org/10.1111/j.1467-8365.2009.00681.x.
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Berkowitz, Michael. „Out of the Whirlwind Reconsidered“. European Judaism 53, Nr. 2 (01.09.2020): 1–12. http://dx.doi.org/10.3167/ej.2020.530202.
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This article argues that Albert Friedlander’s edited book, Out of the Whirlwind (1968), should be recognised as pathbreaking. Among the first to articulate the idea of ‘Holocaust literature’, it established a body of texts and contextualised these as a way to integrate literature – as well as historical writing, music, art and poetry – as critical to an understanding of the Holocaust. This article also situates Out of the Whirlwind through the personal history of Friedlander and his wife Evelyn, who was a co-creator of the book, his colleagues from Hebrew Union College, and the illustrator, Jacob Landau. It explores the work’s connection to the expansive, humanistic development of progressive Judaism in the United States, Britain and continental Europe. It also underscores Friedlander’s study of Leo Baeck as a means to understand the importance of mutual accountability, not only between Jews, but in Jews’ engagement with the wider world.
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Scott, Derek. „Music Hall: Regulations and behaviour in a British cultural institution“. Muzikologija, Nr. 26 (2019): 61–74. http://dx.doi.org/10.2298/muz1926061s.
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The music hall in late nineteenth-century Britain offers an example of a cultural institution in which legal measures, in-house regulations, and unscripted codes of behaviour all come into play. At times, the performers or audience were under coercion to act in a certain way, but at other times constraints on behaviour were more indirect, because the music hall created common understanding of what was acceptable or respectable. There is, however, a further complication to consider: sometimes insider notions of what is normative or appropriate come into conflict with outsider concerns about music-hall behaviour. These various pressures are examined in the context of rowdiness, drunkenness, obscenity, and prostitution, and conflicts that result when internal institutional notions of what is normative or appropriate come into conflict with external social anxieties.
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Bailey, Chris. „The history of Live Music in Britain, Volume 1: 1950–1967“. Cultural Trends 23, Nr. 3 (25.06.2014): 205–7. http://dx.doi.org/10.1080/09548963.2014.925288.
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Kimber, Marian Wilson. „Victorian Fairies and Felix Mendelssohn's A Midsummer Night's Dream in England“. Nineteenth-Century Music Review 4, Nr. 1 (Juni 2007): 53–79. http://dx.doi.org/10.1017/s1479409800000069.
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In art, literature, theatre and music, Victorians demonstrated increased interest in the supernatural and nostalgia for a lost mythic time, a response to rapid technological change and increased urbanization. Romanticism generated a new regard for Shakespeare, also fuelled by British nationalism. The immortal bard's plays began to receive theatrical performances that more accurately presented their original texts, partially remedying the mutilations of the previous century. The so-called ‘fairy’ plays, A Midsummer Night's Dream and The Tempest, were also popular subjects for fairy paintings, stemming from the establishment of the Boydell Shakespeare Gallery in 1789. In such a context, it is no wonder that Felix Mendelssohn's incidental music for A Midsummer Night's Dream was so overwhelmingly popular in England and that his style became closely associated with the idea of fairies. This article explores how the Victorians’ understanding of fairies and how the depiction of fairies in the theatre and visual arts of the period influenced the reception of Mendelssohn's music, contributing to its construction as ‘feminine’. Victorian fairies, from the nude supernatural creatures cavorting in fairy paintings to the diaphanously gowned dancers treading lightly on the boards of the stage, were typically women. In his study of Chopin reception, Jeffrey Kallberg has interpreted fairies as androgynous, but Victorian fairies were predominantly female, so much so that Lewis Spence's 1948 study, The Fairy Tradition in Britain, includes an entire section on fairy gender intended to refute the long-standing notion that there were no male fairies. Thus, for Mendelssohn to have composed the leading musical work that depicted fairies contributed to his increasingly feminized reputation over the course of the nineteenth century.
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Pettegree, Jane. „Volunteer Bands and Local Identity in Caithness at the Time of the Second Reform Act“. Scottish Studies 40 (24.01.2024): 83–110. http://dx.doi.org/10.2218/ss.v40.9291.
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Caithness lay outside the national railway network in 1868, but as this article demonstrates, used the band music of its local volunteer military units, embedded within a wider contemporary British context of imperial music-making, as a means to express and shape local political identities. The second Reform Act of 1867, enacted in Scotland by the Representation of the People (Scotland) Act 1868, prompted wider reimagining about what it meant to be a citizen of Scotland and Britain. Regular references to civic bands in contemporary newspapers and carefully posed photographs in local archives provide evidence for the popularity of Silver and Brass bands connected with the Caithness Volunteer movement. As they marched around towns, villages and countryside, especially around the time of the national elections and local by-elections of 1868-9, their music created powerfully affective soundscapes that connected traditional local identities with the modern British fiscal-military state, helping people to imagine their place as citizens in a period of widening political engagement. The county’s band music provides a microhistory that allows exploration of contrasts between rural and civic patterns of political behaviour in this period.
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Heinrich, Anselm. „Theatre in Britain during the Second World War“. New Theatre Quarterly 26, Nr. 1 (Februar 2010): 61–70. http://dx.doi.org/10.1017/s0266464x10000060.
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In this article Anselm Heinrich argues for a renewed interest in and critical investigation of theatre in Britain during the Second World War, a period neglected by researchers despite the radical changes in the cultural landscape instigated during the war. Concentrating on CEMA (the Council for Encouragement of Music and the Arts) and the introduction of subsidies, the author discusses and evaluates the importance and effects of state intervention in the arts, with a particular focus on the demands put on theatre and its role in society in relation to propaganda, nation-building, and education. Anselm Heinrich is Lecturer in Theatre Studies at the University of Glasgow. He is the author of Entertainment, Education, Propaganda: Regional Theatres in Germany and Britain between 1918 and 1945 (2007), and with Kate Newey and Jeffrey Richards has co-edited a collection of essays on Ruskin, the Theatre, and Victorian Visual Culture (2009). Other research interests include émigrés from Nazi-occupied Europe, contemporary German theatre and drama, and national theatres.
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Somers, Matthias, und Sami Sjöberg. „Reading Ray: Avant-Garde and Transnationalism in Interwar Britain“. Modernist Cultures 16, Nr. 2 (Mai 2021): 216–41. http://dx.doi.org/10.3366/mod.2021.0329.
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The British modernist little magazine Ray: Art Miscellany (1926–1927) pioneered the combination of text and image in the vein of the Continental avant-gardes. Amid the surge of interest in periodicals within modernist studies, Ray has managed to escape broader attention. Its editor, Sidney Hunt, was an enigmatic figure and the magazine itself also eludes categorization, as it did not conform to the standards of English modernism, which were in the process of crystallising at the time of its publication and then dominated the scholarly consensus on artistic innovation during the interwar period. Focusing on the specificities of the magazine form and on Ray's explicitly interartistic and transnational ethos, this article locates Ray within the spectrum of British ‘modernisms’, while interpreting its manifest effort to introduce various European avant-garde movements to a British audience as part of a strategy to establish an alternative modernist project grounded in the ideals of the moribund Arts and Crafts tradition.
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Jones, Peter Blundell. „Reflections on the competition for National Centre for Popular Music, Sheffield“. Architectural Research Quarterly 1, Nr. 4 (1996): 16–27. http://dx.doi.org/10.1017/s1359135500003043.
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For many years, architects in the United Kingdom have looked enviously at the competition system in the German speaking countries and Scandinavia. Now, with the introduction of a major public buildings programme partially funded by the new National Lottery, competitions are becoming more common in Britain. This paper opens with some reflections on the advantages and disadvantages of competitions. It then describes the conduct and outcome of a single Lottery-funded competition for the design of a building for which there were no precedents and in which issues of content and image were major preoccupations for both designers and assessors.
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Situmeang, Joel Franky, und Agusti Efi. „KAJIAN PERTUNJUKAN MUSIK IRINGAN TARI JOGI DI SANGGAR WARISAN PANTAI BASRI PULAU PANJANG BATAM KEPULAUAN RIAU“. Gorga : Jurnal Seni Rupa 12, Nr. 1 (21.04.2023): 11. http://dx.doi.org/10.24114/gr.v12i1.42331.
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This research is a case study of musical performance in the Basri Heritage Beach Group or SWPB. Where SWPB always promotes and performs Jogi music. Jogi is a music and dance performance that tells the story of a wife who is left by her husband when she goes to sea. The form of a musical performance entitled "Ari Dunie Jogi." Jogi music is included in two parts consisting of 1) Dondang with musical accompaniment of the inang rhythm, and 2) Dances with musical accompaniment of Joget silat. The purpose of this research is to study the musical performances of the Basri Beach Heritage Sanggar, whose musical performances have never been studied. This research is a qualitative analytic description, while the research methods are field observations, interviews, literature studies, and participant observers. The result of the research is the success of the musical performances of the Basri Beach Heritage Studio through the stages of the training process, performance flying hours, and performance evaluation for the progress of the Basri Beach Heritage Studio. This procession was born through discussions and agreements among fellow musicians so that the sustainability and sustainability of the Basri Beach Heritage Studio group was established.Keywords: music, performance, study, jogi.AbstrakPenelitian ini merupakan kajian pertunjukan musik studi kasus pada kelompok Sanggar Warisan Pantai Basri atau SWPB. Di mana SWPB selalu mempromosikan dan mempertunjukkan musik Jogi. Jogi merupakan pertunjukan musik dan tari yang bercerita istri yang ditinggal suami saat pergi melaut. Bentuk pertunjukan musik berjudul “Ari Dunie Jogi.” Musik Jogi termasuk pada musik dua bagian yang terdiri dari, 1) dondang dengan musik iringan rentak inang, dan 2) tarian dengan musik iringan rentak Joget silat. Tujuan penelitian ini adalah untuk mengkaji pertunjukan musik Sanggar Warisan Pantai Basri yang belum pernah dikaji pertunjukan musiknya. Penelitian ini berupa kualitatif deskripsi analitik, adapun metode penelitiannya adalah pengamatan lapangan, wawancara, studi literatur, dan partisipan observer. Hasil dari penelitian adalah bahwa keberhasilan pertunjukan musik Sanggar Warisan Pantai Basri melalui tahapan-tahapan proses latihan, jam terbang pertunjukan, dan evaluasi pertunjukan untuk kemajuan Sanggar Warisan Pantai Basri. Prosesi ini lahir melalui diskusi dan kesepakatan di antara sesama pemusik, sehingga terjalin keberlangsungan dan kebertahanan kelompok Sanggar Warisan Pantai Basri.Kata Kunci: kajian, pertunjukan, musik, jogi. Authors:Joel Franky Situmeang : Universitas Negeri PadangAgusti Efi : Universitas Negeri Padang References:Abdullah, A. (2021). “Pola Penganak dan Pola Pengibu Pada Musik Jogi”. Hasil Wawancara Pribadi: 12 April 2021, Taman Dendang Melayu Jembatan 1 Barelang.Cook, N. (2001). Between Process and Product: Music and/as Performance. Music Theory Online, 7(2), 1-31.Merriam, A. P. (1964). Antropologi Musik. Yogyakarta: Institut Seni Indonesia Yogyakarta.Normah, N. (2021). “Lirik Dondang Ari Dunie Jogi”. Hasil Wawancara Pribadi: 12 April 2021, Taman Dendang Melayu Jembatan 1 Barelang Batam.Parncutt and Mc Pherson. (2002). The Science and Psychology of Music Performance: Creative Strategies For Teaching and Learning. Britania Raya: Oxford University Press.Schechner, R. (2003). Performance Theory. Britania Raya: Routledge.Sedyawati, Edi. (2006). Pertumbuhan Seni Pertunjukan (Cetakan Pertama). Jakarta: Sinar Harapan.Sujarno, S. (2003). Seni Pertunjukan Tradisional Nilai, Fungsi dan Tantangannya. Yogyakarta: Kementrian Kebudayaan dan Pariwisata DIY.Suwandi, S. (2007). Berkarya Seni Budaya. Bekasi: Ganeca Exact.Syafrizal, S., Efi, A., & Budiwirman, B. (2022). Management Event Seni Pertunjukan Performance Art. Gorga: Jurnal Seni Rupa, 11(2), 246-252.Watanabe, R. T. (1967). Introduction to Music Research. New Jersey: Prentice Hall.Yulfita, A. F., & Herdianto, F. (2022). Deskripsi dan Interpretasi Teknik Permainan Instrument Marimba Concerto In G Major RV dan A Whole New World. Gorga: Jurnal Seni Rupa, 11(1), 60-66.Zamri, Z. (2021). “Gelek Pada Musik Jogi”. Hasil Wawancara Pribadi: 12 April 2021, Taman Dendang Melayu Jembatan 1 Barelang Batam.Zulkifli, Z. (2021). “Biola Pada Musik Jogi”. Hasil Wawancara Pribadi: 12 April 2021, Taman Dendang Melayu Jembatan 1 Barelang Batam.
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Johnson-Williams, Erin. „Kate Guthrie. The Art of Appreciation: Music and Middlebrow Culture in Modern Britain. California Studies in 20th-Century Music. Oakland: University of California Press, 2021. Pp. 306. $70.00 (cloth).“ Journal of British Studies 62, Nr. 2 (April 2023): 563–64. http://dx.doi.org/10.1017/jbr.2023.60.
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Safitri, Ragil, und Sugirin Sugirin. „Senior high school students’ attitudes towards intercultural insertion into the ELT: Yogyakarta context“. EduLite: Journal of English Education, Literature and Culture 4, Nr. 2 (04.09.2019): 261. http://dx.doi.org/10.30659/e.4.2.261-274.
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Experts in English Language Teaching often consider culture as the fifth skill in foreign language learning as cultural literacy is a must in 21st-century learning. Thus, this study is to investigate students’ interest in the insertion of Big ‘C’ and little ‘c’ themes from different countries into the English classroom. In this study, the researcher distributed a questionnaire to 58 students in a senior high school in Yogyakarta. The study indicated that the respondents’ preferences were mostly about local culture (Yogyakarta and Indonesian culture), followed by target culture (culture of English-speaking countries) and international culture. In accordance with the cultural themes, they showed a relatively higher preference toward Big ‘C’ over the little ‘c’ culture. Concerning Indonesian culture, the students were excited in learning about art/literature, history, and food while for Yogyakarta culture includes history, foods, and lifestyles. Meanwhile, for target culture (Britain, America, and Australia), the students were eager to learn about lifestyles and foods. The last, for international culture, the cultural themes of lifestyles and music/sports were preferred by the students.
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Coombs, David Sweeney. „The Sense and Reference of Sound; or, Walter Pater’s Kinky Literalism“. Nineteenth-Century Literature 72, Nr. 4 (01.03.2018): 487–514. http://dx.doi.org/10.1525/ncl.2018.72.4.487.
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David Sweeney Coombs, “The Sense and Reference of Sound; or, Walter Pater’s Kinky Literalism” (pp. 487–514) This essay explores the erotic possibilities of literal reading by strategically fetishizing the recurring figure of harmony in Walter Pater’s essay “The School of Giorgione” (1877) and his other post-Renaissance writings. I read Pater’s invocations of harmony literally with help from the scientific acoustics of the German physicist Hermann von Helmholtz, which achieved immense popularity in Britain at just the moment that Pater made his famous declaration that all art aspires to the conditions of music. Both Pater and Helmholtz understood perception as an act of reading bodily sensations in which reference—our attention to the objects we infer to be present in the world around us—constantly threatens to overwhelm our awareness of the sensations themselves. In his work on acoustics, however, Helmholtz singled out musical harmony as an experience uniquely susceptible to the mental effort to distinguish discrete sensations during the act of perception. Oscillating between sense and reference, harmony exemplifies the rhetorical logic of what Pater calls literal metaphors—figures whose figurative significance can be fully accessed only by taking them literally. The most emblematic of Pater’s literal metaphors is the Paterian figure itself, at once human form and trope. To take Paterian figures literally, this essay suggests, is to reimagine literal reading as a form of kink—a fetishizing of the sensory forces through which a figure affects and dominates us.
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Brincker, Benedikte, und Athena S. Leoussi. „Anthony D. Smith and the role of art, architecture and music in the growth of modern nations: a comparative study of national parliaments and classical music in Britain and Denmark“. Nations and Nationalism 24, Nr. 2 (April 2018): 312–26. http://dx.doi.org/10.1111/nana.12409.
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Ward, W. R. „Art and Science: or Bach as an Expositor of the Bible“. Studies in Church History 28 (1992): 343–53. http://dx.doi.org/10.1017/s0424208400012547.
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For a long time before dramatic recent events it has been clear that the German Democratic Republic has been in die position, embarrassing to a Marxist system, of having nothing generally marketable left except (to use the jargon) ‘superstructure’. The Luther celebrations conveniendy bolstered the implicit claim of the GDR to embody Saxony’s long-delayed revenge upon Prussia; still more conveniendy, they paid handsomely. Even the Francke celebrations probably paid their way, ruinous though his Orphan House has been allowed to become. When I was in Halle, a hard-pressed government had removed the statue of Handel (originally paid for in part by English subscriptions) for head-to-foot embellishment in gold leaf, and a Handel Festival office in the town was manned throughout the year. Bach is still more crucial, both to the republic’s need to pay its way and to the competition with the Federal Republic for the possession of the national tradition. There is no counterpart in Britain to the strength of the Passion-music tradition in East Germany. The celebrations which reach their peak in Easter Week at St Thomas’s, Leipzig, are like a cross between Wembley and Wimbledon here, the difference being that the black market in tickets is organized by the State for its own benefit. If Bach research in East Germany, based either on musicology or the Church, has remained an industry of overwhelming amplitude and technical complexity, the State has had its own Bach-research collective located in Leipzig, dedicated among other things to establishing the relation between Bach and the Enlightenment, that first chapter in the Marxist history of human liberation. Now that a good proportion of the population of the GDR seems bent on liberation by leaving the republic or sinking it, the moment seems ripe to take note for non-specialist readers of some of what has been achieved there in recent years.
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HUGHES, JEFF. „What is British nuclear culture? UnderstandingUranium 235“. British Journal for the History of Science 45, Nr. 4 (Dezember 2012): 495–518. http://dx.doi.org/10.1017/s0007087412001021.
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AbstractIn the ever-expanding field of nuclear history, studies of ‘nuclear culture’ are becoming increasingly popular. Often situated within national contexts, they typically explore responses to the nuclear condition in the cultural modes of literature, art, music, theatre, film and other media, as well as nuclear imagery more generally. This paper offers a critique of current conceptions of ‘nuclear culture’, and argues that the term has little analytical coherence. It suggests that historians of ‘nuclear culture’ have tended to essentialize the nuclear to the detriment of historical analysis, and that the wide variety of methodological approaches to ‘nuclear culture’ are simultaneously a strength and a more significant weakness, in that they have little shared sense of the meaning of the term, its theoretical underpinnings or its analytical purchase. The paper then offers a study of Ewan MacColl's 1946 playUranium 235, whose career reveals much about the diversity of cultures of the nuclear in post-war Britain. The study moves us away from a single, homogeneous ‘British nuclear culture’ towards a pluralistic critical history of cultural responses to nuclearization. These responses, I conclude, should be seen as collectively constitutive of the nuclear condition rather than as passive reflections of it.
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Lloyd, Sarah. „Pleasing Spectacles and Elegant Dinners: Conviviality, Benevolence, and Charity Anniversaries in Eighteenth-Century London“. Journal of British Studies 41, Nr. 1 (Januar 2002): 23–57. http://dx.doi.org/10.1086/386253.
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As the number and interests of charitable institutions expanded throughout Britain during the eighteenth century, so special fund-raising events, anniversary celebrations, and meetings multiplied. During 1775, for example, the major metropolitan charities and a plethora of minor benevolent societies courted middle- and upper-class Londoners with invitations to concerts and exhibitions. Men could support various hospitals and other good causes by dining in taverns and City Livery Halls in company with civic and ecclesiastical dignitaries, even noble and royal dukes. Both men and women might attend charities' anniversary services, ornamented with special music and a sermon, choosing among dispensaries, hospitals, lying-in charities, religious societies, and various efforts to reform and reclaim the poor for public benefit. On Sundays, armed with tickets, special prayer books, and even keys to their rented pews, women and men might attend the chapel of a philanthropic institution. Alternatively, they could listen to a fund-raising sermon and watch charity-school children arrayed in the gallery of a parish church. Toward the end of the year, they might pay half a guinea each to hear Handel's Messiah in the Foundling Hospital Chapel or go to Covent Garden and Drury Lane to watch tragedies and farces. Charitable activity thus extended beyond churches, alms, and sermons into the theater. It spilled onto the streets as gentlemen processed to dinner; it accompanied art and music. Conversely, waves of fashion drove visitors to one philanthropic institution or another to see deserving recipients, hear a particularly popular preacher, or to be observed themselves.
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Dale, Catherine. „Britain's ‘Armies of Trained Listeners’: Building a Nation of ‘Intelligent Hearers’“. Nineteenth-Century Music Review 2, Nr. 1 (Juni 2005): 93–114. http://dx.doi.org/10.1017/s1479409800001579.
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‘Are you musical?’, asks Gustav Kobbé of some imaginary interlocutor in the introduction to How to Appreciate Music (1906). ‘No’, comes the reply, ‘I neither play nor sing’. ‘But, if you can read and listen’, Kobbé continues, ‘there is no reason why you should not be more musical … than many of those whose musicianship lies merely in their fingers or vocal cords’. Kobbé's response epitomizes the shift in emphasis that had begun to occur in music education at the turn of the century from the acquisition of technical proficiency on an instrument or the voice to the cultivation of an appreciative, aesthetic understanding of music. The acquisition of performing skill had been perpetuated by the hegemony of the singing class in British music education throughout the nineteenth century. Initially, such teaching took the form of the government-sponsored continental system of ‘fixed’ sol-fa devised by Guillaume Wilhem for use in the public singing classes and commune schools of Paris and, from 1840, adapted by John Hullah for use in the teacher-training institution founded by James Kay-Shuttleworth at Battersea. Subsequently, there was the tonic sol-fa system with its movable doh devised by John Curwen; this system came to replace the Hullah–Wilhem method after the Education Act of 1870, which introduced compulsory schooling in Britain and established school boards to implement local policy.
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Ford, Boris. „The Cambridge Guide to the Arts in Britain“. Journal of Aesthetics and Art Criticism 49, Nr. 1 (1991): 102. http://dx.doi.org/10.2307/431666.
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Qureshi, Bilal. „Elsewhere“. Film Quarterly 73, Nr. 2 (2019): 62–65. http://dx.doi.org/10.1525/fq.2019.73.2.62.
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FQ columnist Bilal Qureshi compares two seemingly similar summer movies: Gurinder Chadha's Blinded by the Light and Danny Boyle's Yesterday, both of which feature music-obsessed South Asian male leads. However, while Boyle's film adopts a race-blind perspective, promoting a vision (or fantasy) of a multiracial Britain of friendships and intimacy, in Blinded by the Light, Chadha pushes her long-standing interest in race and multiculturalism beyond the feel-good sensibilities of her earlier hit, Bend it Like Beckham. Instead, Qureshi argues, Chadha has made a subversively political film, bristling with an urgent plea for empathy, inspired by the blinding xenophobia of Brexit.
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Sabyrova, Aliya, und Aigerim Baribayeva. „Overview of the documentary film "The first audio recording of Kazakh music. Road of people"“. Central Asian Journal of Art Studies 6, Nr. 1 (31.03.2021): 165–75. http://dx.doi.org/10.47940/cajas.v6i1.347.
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Kazakh traditional music has been the research object for many scientists from Russia, Germany, Great Britain, Hungary, Japan, the United States, and other countries. In the 20th century, due to the establishment of Soviet power, the territory of Kazakhstan was closed for research by foreigners. Simultaneously, such a combination of events contributed to preserving materials collected before the Great October Socialist Revolution. Therefore, today it is vital for the World and Kazakh ethnomusicology to consider unknown materials and scientific sources. Various foreign archives contain materials unknown to Kazakh ethnomusicologists about Kazakh traditional music collected on researchers’ and traveler’s expeditions since the end of the XVIII century. Recordings of the German ethnographer-anthropologist R. Karutz were found in 2016 by the film crew of the Interstate TV and Radio Company “Mir”, and analyzed and published by the doctor of Art studies S. I. Utegalieva in the book” Turkestan collection of songs and instrumental pieces collected by R. Karutz (1905)”. These recordings prove that there are sources about Kazakh traditional music that can change the opinion about the historical significance of the Kazakh culture in the Central Asian region. The famous turcologist Efim Rezvan presented the records in the Pushkin Museum in St. Petersburg. It turned out that the original cylinders with authentic recordings are currently stored in the archive of the Berlin Museum of Visual Anthropology and Ethnology. This article reviews the documentary film "Road of People: The First Audio Recording of Kazakh Music", and sheds light on the possible prospects of studying the problem of research the Kazakh traditional music. Today, the Berlin Phonogram Archive contains samples of music from all over the world, the first recording dates back to 1900. The collection of wax cylinders by Richard Karutz is kept in the Department of Ethnomusycology, Visual Anthropology at the Berlin Phonogram Archive of the Ethnological Museum in Berlin. The collection is well preserved, and according to its curator Dr. Ricarda Kopal, there are 16 wax cylinders from Turkestan, an area of now southern Kazakhstan, which R. Karuts crossed during his expedition. The film crew brought digital copies of the recordings to Almaty for further study. Kazakh and international scientists and performers, professors and doctors of sciences: S. Utegalieva, T. Togzhanov, A. Berdibay (Kazakhstan), I. Saurova (Karakalpak Autonomous Republic), R. Abdullaev (Uzbekistan) and others were involved to decipher, analyze, describe and evaluate the musical and artistic content of the recordings. The whole process was documented in the film, which was worked on by a whole team of professional journalists, the script was written by Timur Sandybaev and Askar Alimzhanov, directed by Kanat Yessenamanov.
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Mollaghan, Aimee. „An audio-visual Gallivant: Psychogeographical soundscapes in the films of Andrew Ktting“. Soundtrack 3, Nr. 2 (01.12.2010): 125–30. http://dx.doi.org/10.1386/st.3.2.125_1.
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Andrew Ktting is one of the most innovative film-makers working in Britain today, using his distinctive Punk multimedia aesthetic to circumvent not only the conventions of narrative cinema, but also the conventions of experimental film and fine art. One of Ktting's enduring concerns is the psychogeographical use of landscape and soundscape as a catalyst for arresting and inventive investigations into memory and identity. Composer R. Murray Schafer uses the word soundscape to identify sound that describes an environment, actual or abstract, but always a sound relevant to a place (Schafer 1994). The sounds of our environment have a powerful effect on our imaginations and memories and Ktting exploits this effect across his body of work. The use of the disembodied voice is another marked feature of Ktting's films, creating both implied narratives and the evocation of memory. Ktting's bodiless voices have a schizophonic quality to them. Kotting rips sounds and voices from their sources and imbues them with an independent existence that is at liberty to emanate from anywhere in the landscape. This article investigates Ktting's idiosyncratic creation of soundscapes as a filmic reproduction of the human psyche, exploring memory, identity and community through an interweaving of voice, music and environmental sound.
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Coester, Markus. „Localising African popular music transnationally: ‘Highlife-Travellers’ in Britain in the 1950s and 1960s“. Journal of African Cultural Studies 20, Nr. 2 (Dezember 2008): 133–44. http://dx.doi.org/10.1080/13696810802522247.
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Boschi, Elena. „‘Where you from, you sexy thing?’ Popular Music, Space and Masculinity inThe Full Monty“. Journal of British Cinema and Television 13, Nr. 4 (Oktober 2016): 516–35. http://dx.doi.org/10.3366/jbctv.2016.0338.
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Questions of class, masculinity and diversity are a recurrent theme in debates about The Full Monty (1997) but, despite their prominent role in the story, songs are not discussed as a significant element in the film's representation of white working-class masculinity. In this article, I examine The Full Monty's soundtrack, showing how the characters’ wounded masculinities are (re)constructed through music and considering the connotative baggage brought into the film by songs, often heard through visible devices which act as a signifier alongside the music. Songs of other non-dominant identities – women, non-white and queer – enhance The Full Monty's audiovisually inclusive image, amplifying these identities despite their otherwise problematic representations and serving as a temporary reclamation of damaged white working-class masculinity after the dismantling of heavy industry in post-Thatcher Britain. However, despite its aural reimagining of a diverse working-class masculinity, the way women, non-white and queer characters are represented weakens the musical connections between jobless white men and these non-dominant identities.
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Dovzhyk, Sasha. „Beardsley Men in Early Twentieth-Century Russia: Modernising Decadent Masculinity“. Modernist Cultures 16, Nr. 2 (Mai 2021): 191–215. http://dx.doi.org/10.3366/mod.2021.0328.
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This article explores the reception of the Decadent artist Aubrey Beardsley (1872–1898) in Russia concentrating on new gendered meanings acquired by ‘Beardsleyism’ in modernist Russian culture. While the so-called ‘Beardsley Woman’ became a widely discussed literary construct and journalistic trope in Britain, the imagination of Russian artists and literati was captured by a ‘Beardsley Man’. Due to the circulation of the artist's portraits and descriptions by modernist periodicals such as Sergei Diaghilev's Mir iskusstva (1899–1904), a specific form of male (self-)representation emerged in the homophile art circles of St Petersburg and Moscow. Exploring this new urban Russian masculinity, I use the case studies of four men who were compared to Beardsley or used Beardsley as a model in their work and self-fashioning: artist Nikolai Feofilaktov, poet Georgii Ivanov, writers Mikhail Kuzmin and Iurii Iurkun.