Contents Acknowledgements

Total Page:16

File Type:pdf, Size:1020Kb

Contents Acknowledgements Contents Acknowledgements 1 Welcome 2 Conference Schedule 3 Abstracts 15 Posters 79 About the RMA 80 Exhibitors & Advertisers 83 Milton Court Floor Outline 87 Conference Timetable 88 Acknowledgements Guildhall School of Music and Drama Cormac Newark (Conference Director) Aoife Shanley (Conference Manager) Sophie Timms (Conference Assistant) Research & Enterprise Team Performance Venues, Audio Visual, and Facilities Teams 1 Programme committee Suzanne Aspden (University of Oxford) Warwick Edwards (RMA / University of Glasgow) Katy Hamilton (RMA) Freya Jarman (University of Liverpool), representing RMA Annual Conference 2017 Cormac Newark (Guildhall School of Music & Drama), chair Royal Musical Association Conference programme abstracts edited by Suzanne Aspden and Freya Jarman The Royal Musical Association wishes to thank all the above, along with Routledge Taylor & Francis Group and the Musica Britannica Trust for sponsorship of the conference receptions Welcome Dear Colleagues Welcome to the 52nd Annual Conference of the Royal Musical Association, meeting at the Guildhall School of Music and Drama in London. Here we have assembled a programme of around 130 speakers from across the globe. The programme includes panel discussions by internationally renowned academics, and individual papers on topics ranging from the Cantigas de Santa Maria to Boulez. The conference also includes the Edward J. Dent medal presentation and Lecture by Marina Frolova- Walker, and in a departure from tradition the Peter Le Huray Lecture takes the form of a panel involving four leading practitioners and commentators in the field of opera production and reception. In addition to the Annual General Meeting of the Association, there are receptions sponsored by Routledge and by the Musica Britannica Trust, and the usual exhibition of books and other materials. I hope you enjoy the conference, and if you’re not already a member, feel inclined to join us. Membership is available online at www.rma.ac.uk. Mark Everist President of the Royal Musical Association 2 Conference Programme Saturday 3 September 9.30am – 10.45am Registration / Refreshments 9.30am – 6pm Publisher Exhibition Posters 10.45am – 10.55am Welcome Concert Hall Cormac Newark (conference director) Saturday 3 September 11am – 12.30pm Saturday Morning Sessions 1A Critical Pedagogy and Music Education (Panel) Concert Hall Jonathan Owen Clark (Trinity Laban Conservatoire of Music and Dance), convenor Peter Tregear (Royal Holloway, University of London), chair Four 15-minute papers, followed by a chaired discussion and a Q&A session • Louise H. Jackson (Trinity Laban Conservatoire of Music and Dance), ‘ “Dead zones” of music in higher education’ • Jonathan Owen Clark (Trinity Laban Conservatoire of Music and Dance), ‘What is a suitable “aesthetic education”?’ • Biranda Ford (Guildhall School of Music & Drama), ‘A conservatoire education 3 in an era of globalisation’ • Kate Wakeling (Trinity Laban Conservatoire of Music and Dance), ‘ “Affecting change”: ethics and instrumentalism in the research and delivery of participatory music education’ 1B Music, Violence, Justice (Panel) Rehearsal Room 1 Anna Papaeti (Independent Scholar, Berlin), convenor Lukas Pairon (University of Ghent), chair Three 20-minute papers and a 30-minute chaired discussion • Katia Chornik (Cantos Cautivos Archive) and Manuel Guerrero (University of Chile), ‘Reciprocal effects of research and human rights legislation in Chile’ • Anna Papaeti (Independent Scholar, Berlin), ‘Music, sound and torture in the detention centres of the military junta in Greece (1967–74)’ • Morag Josephine Grant (Independent Scholar, Berlin), ‘Music-justice- violence: aspects of a relationship’ 1C In Memoriam Pierre Boulez (Panel) Rehearsal Room 2 Robert Sholl (Royal Academy of Music and University of West London), chair Two 20-minute papers followed by a panel discussion • Arnold Whittall (King’s College London), ‘Boulezian themes from the 1970s: Bayreuth to Beaubourg’ • Jonathan Goldman (University of Montreal), ‘Listening to Doubles in stereo’ • Jonathan Dunsby (Eastman School of Music, University of Rochester), Jonathan Goldman (University of Montreal) and Arnold Whittall (King’s College London), panel discussion: ‘Can one speak of Boulezian music theory? The evidence of the Collège de France lectures’ 1D Operatic Objects (OBERTO Opera Research Panel) Rehearsal Room 3 Alexandra Wilson (Oxford Brookes University), convenor Susan Rutherford (University of Manchester), chair Three 20-minute papers, followed by a 30-minute discussion • Andrew Holden (Oxford Brookes University), ‘Bringing Hohenstein to life: Saturday 3 September Teatro dell’Opera di Roma’s New Production of Tosca’ • Anna Maria Barry (Oxford Brookes University), ‘Exhibiting Sir Charles Santley: Research on Display’ • Alexandra Wilson (Oxford Brookes University), ‘Caruso’s Books: Opera, Biography and Material Culture’ 12.30pm – 1.30pm Lunch / Registration There are a number of lunch options in the surrounding area, one of our stewards will be happy to direct you. 12.30pm – 2.30pm RMA Council meeting, Meeting Room 1 4 1.30pm – 2.15pm Saturday Lecture-Recitals ‘Current and Future Perspectives on the Revival of Classical Improvisation in Western Art-Music Performance Culture’ Concert Hall John Rink (University of Cambridge), chair • David Dolan (Guildhall School of Music & Drama) • John Sloboda (Guildhall School of Music & Drama) • Henrik Jensen (Imperial College, London) • Eugene Feygelson (Kings College, London) • Thomas Carroll (Royal College of Music), cello ‘Gary, can you bring in your wetsuit? Evolution of a New Context for Song’ Rehearsal Room 3 Roy Howat (Royal Academy of Music & Royal Conservatoire of Scotland), chair • Iain Burnside (Guildhall School of Music & Drama) • Guildhall School Student and alumni performers: Clare Lees, Felicity Turner, Michelle Santiago, Adam Sullivan, Matthew Palmer, Jonathan Hyde and Pierre Riley 2.30pm – 4pm Saturday Afternoon Sessions 1E New Audiences Concert Hall Chris Banks (Imperial College London), chair Three 20-minute papers, each followed by a 10-minute discussion • David Kidger (Oakland University), ‘The Robert Mayer Concerts for Children: bringing orchestral music to young people in England in the 1920s and 1930s for the first time’ • Elizabeth Wells (Mount Allison University), ‘Bernstein and the Beatles: intersections of popular and classical in 1960s America’ • Karen Wise (Guildhall School of Music & Drama) and John Sloboda (Guildhall School of Music & Drama), ‘Journeys of new audiences’ Saturday 3 September 1F Aspects of Ensemble Practice in the 1970s (Panel) Rehearsal Room 1 Roddy Hawkins (University of Manchester), convenor and chair Three 20-minute papers, followed by a 10-minute response and a 20-minute discussion • David Chapman (Rose-Hulman Institute of Technology), ‘Minimalism, incorporated: the business of becoming Steve Reich and Musicians and the Philip Glass Ensemble’ • Liam Cagney (University College Dublin), ‘Ensemble L’Itinéraire’s role in the establishment of French spectral music’ • Roddy Hawkins (University of Manchester), ‘One complexity, two complexity, more: exploring the role of ensemble Suoraan in the emergence of “New 5 Complexity” in Britain’ • Eric Drott (University of Texas at Austin), respondent 1G Stringed Keyboard Instrument Variety: Pitch, Timbre and the Novel (Panel) Rehearsal Room 2 Edward Dewhirst (University of Edinburgh), convenor and chair Two 45-minute sections, each with two speakers and an opportunity for questions. • Edward Dewhirst (University of Edinburgh), ‘The ignored and “inferior”: Italian octave-pitch keyboard instruments’ • David Gerrard (University of Edinburgh), ‘A virginal at “organ pitch”: reconstructing sixteenth-century sound’ • Eleanor Smith (Orpheus Institute), ‘No longer a novelty: re-establishing the importance of organised keyboards’ • Jenny Nex (University of Edinburgh), ‘From the sublime to the ridiculous: an exploration of the more extreme adaptations and modifications to the piano in late eighteenth-century Britain’ 1H Composer Reminiscences Rehearsal Room 3 Julian Horton (Durham University), chair Three 20-minute papers, each followed by a 10-minute discussion • Reuben Phillips (Princeton University), ‘Brahms as “Kreisler der Jüngere”: recapturing a Romantic aesthetic of early music’ • Sebastian Wedler (University of Oxford), ‘Tonal pairing as a strategy of lyrical time: Anton Webern’s Langsamer Satz (1905)’ • James Sobaskie (Mississippi State University), ‘The Role of Reminiscence in Fauré’s Fantaisie pour piano et orchestre’ 4pm – 4.30pm Refreshments The Peter Le Huray Panel Concert Hall, 4.30pm – 5.30pm Recent developments in opera production and reception Saturday 3 September Introduction from Cormac Newark (Guildhall School of Music & Drama) Charlotte Higgins (The Guardian) Mark Ravenhill (Playwright) Annabel Arden (Opera Director, Co-founder of Théâtre de Complicite) John Deathridge (King’s College London) 5.30pm – 6.30pm Reception sponsored by Routledge Publishing 6 Sunday 4 September 9.15am – 9.30am Registration 9.15am – 6pm Publisher Exhibition Posters 9.30am – 10.30am Sunday Morning Sessions 2A Englishness Concert Hall Rachel Cowgill (University of Huddersfield), chair Sunday 4 September Two 20-minute papers, each followed by a 10-minute discussion • Rachel Landgren (University of Melbourne), ‘Elizabethans through to the present day - constructing a history of English song’ • Matthew Riley (University of Birmingham), ‘Diatonicism and English national music’ 2B
Recommended publications
  • How Democratic Is Jazz?
    Accepted Manuscript Version Version of Record Published in Finding Democracy in Music, ed. Robert Adlington and Esteban Buch (New York: Routledge, 2021), 58–79 How Democratic Is Jazz? BENJAMIN GIVAN uring his 2016 election campaign and early months in office, U.S. President Donald J. Trump was occasionally compared to a jazz musician. 1 His Dnotorious tendency to act without forethought reminded some press commentators of the celebrated African American art form’s characteristic spontaneity.2 This was more than a little odd. Trump? Could this corrupt, capricious, megalomaniacal racist really be the Coltrane of contemporary American politics?3 True, the leader of the free world, if no jazz lover himself, fully appreciated music’s enormous global appeal,4 and had even been known in his youth to express his musical opinions in a manner redolent of great jazz musicians such as Charles Mingus and Miles Davis—with his fists. 5 But didn’t his reckless administration I owe many thanks to Robert Adlington, Ben Bierman, and Dana Gooley for their advice, and to the staffs of the National Museum of American History’s Smithsonian Archives Center and the New York Public Library’s Schomburg Center for Research in Black Culture. Copyright © 2020 by Benjamin Givan. 1 David Hajdu, “Trump the Improviser? This Candidate Operates in a Jazz-Like Fashion, But All He Makes is Unexpected Noise,” The Nation, January 21, 2016 (https://www.thenation.com/article/tr ump-the-improviser/ [accessed May 14, 2019]). 2 Lawrence Rosenthal, “Trump: The Roots of Improvisation,” Huffington Post, September 9, 2016 (https://www.huffpost.com/entry/trump-the-roots-of-improv_b_11739016 [accessed May 14, 2019]); Michael D.
    [Show full text]
  • Shadows in the Field Second Edition This Page Intentionally Left Blank Shadows in the Field
    Shadows in the Field Second Edition This page intentionally left blank Shadows in the Field New Perspectives for Fieldwork in Ethnomusicology Second Edition Edited by Gregory Barz & Timothy J. Cooley 1 2008 1 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright # 2008 by Oxford University Press Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Shadows in the field : new perspectives for fieldwork in ethnomusicology / edited by Gregory Barz & Timothy J. Cooley. — 2nd ed. p. cm. Includes bibliographical references and index. ISBN 978-0-19-532495-2; 978-0-19-532496-9 (pbk.) 1. Ethnomusicology—Fieldwork. I. Barz, Gregory F., 1960– II. Cooley, Timothy J., 1962– ML3799.S5 2008 780.89—dc22 2008023530 135798642 Printed in the United States of America on acid-free paper bruno nettl Foreword Fieldworker’s Progress Shadows in the Field, in its first edition a varied collection of interesting, insightful essays about fieldwork, has now been significantly expanded and revised, becoming the first comprehensive book about fieldwork in ethnomusicology.
    [Show full text]
  • John Cage's Entanglement with the Ideas Of
    JOHN CAGE’S ENTANGLEMENT WITH THE IDEAS OF COOMARASWAMY Edward James Crooks PhD University of York Music July 2011 John Cage’s Entanglement with the Ideas of Coomaraswamy by Edward Crooks Abstract The American composer John Cage was famous for the expansiveness of his thought. In particular, his borrowings from ‘Oriental philosophy’ have directed the critical and popular reception of his works. But what is the reality of such claims? In the twenty years since his death, Cage scholars have started to discover the significant gap between Cage’s presentation of theories he claimed he borrowed from India, China, and Japan, and the presentation of the same theories in the sources he referenced. The present study delves into the circumstances and contexts of Cage’s Asian influences, specifically as related to Cage’s borrowings from the British-Ceylonese art historian and metaphysician Ananda K. Coomaraswamy. In addition, Cage’s friendship with the Jungian mythologist Joseph Campbell is detailed, as are Cage’s borrowings from the theories of Jung. Particular attention is paid to the conservative ideology integral to the theories of all three thinkers. After a new analysis of the life and work of Coomaraswamy, the investigation focuses on the metaphysics of Coomaraswamy’s philosophy of art. The phrase ‘art is the imitation of nature in her manner of operation’ opens the doors to a wide- ranging exploration of the mimesis of intelligible and sensible forms. Comparing Coomaraswamy’s ‘Traditional’ idealism to Cage’s radical epistemological realism demonstrates the extent of the lack of congruity between the two thinkers. In a second chapter on Coomaraswamy, the extent of the differences between Cage and Coomaraswamy are revealed through investigating their differing approaches to rasa , the Renaissance, tradition, ‘art and life’, and museums.
    [Show full text]
  • Popular Music Studies in Italian Universities —A Petition—
    Popular Music Studies in Italian Universities: a petition — signatories 1 Popular Music Studies in Italian Universities —a Petition— Final list: 573 signatories from 47 nations (2015‐06‐14, 15:37 hrs BST) Signatory numbers by nation state Argentina 12 Australia 23 Austria 5Belgium 2Brazil 56 Bulgaria 2 Canada 34 Chile 8 China 1 Colombia 7Croatia 1Cuba 2 Cyprus 1Denmark 6Estonia 5Finland 21 France 16 Germany 18 Greece 3Iceland 1Ireland 10 Israel 4Italy 77 Jamaica 1 Japan 1 Lithuania 1Mexico 3 Mozambique 1Netherlands 9New Zealand 4 Norway 7Peru 1 Poland 1Portugal 6Singapore 1Slovenia 2 South Africa 8South Korea 1Spain 33 Sweden 5Switzerland 2South Africa 8 Turkey 3Uganda 1UK 108 Uruguay 5USA 43 THE FOLLOWING IS A LIST OF SIGNATORIES IN ALPHABETICAL ORDER OF FAMILY NAME. •There is a basic list of signatories in alphabetical order of nation state at http://tagg.org/html/Petition1405/PetitionResidence.htm •The ACTUAL PETITION can be viewed in English, Italian or Spanish by visiting http://tagg.org/html/Petition1405.html. List of 573 signatories to the petition A 1. Silvia Irene ABALLAY — Profesor Titular, Universida Nacional de Villa María (Argentina) 2. Lauren ACTON — Course Director, Centennial College/York University, Toronto (Canada) 3. Roberto, AGOSTINI — Professore a contratto, Conservatori di Cesena e di Sassari, Bologna (Italy) 4. Coriún AHARONIÁN — Composer and former professor, Escuela Universitaria de Música, Universidad de la República; Director, Centro Nacional de Documentación Musical Lauro Ayestarán; Emeritus researcher, National System of Researchers (Uruguay) 5. Michael AHLERS — Professor for music education and popular music, Leuphana University of Lüneburg (Germany) 6. Kaj AHLSVED — PhD Candidate in Musicology, Åbo Akademi University, Turku (Finland) 7.
    [Show full text]
  • 161894153.Pdf
    Trillo, Derek (2017)‘The flow of life’: photographing architecture as populated spaces. Doctoral thesis (PhD), Manchester Metropolitan University. Downloaded from: http://e-space.mmu.ac.uk/621298/ Usage rights: Creative Commons: Attribution-Noncommercial-No Deriva- tive Works 4.0 Please cite the published version https://e-space.mmu.ac.uk ‘The Flow of Life’: Photographing Architecture as Populated Spaces Derek Trillo A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy PAHC Manchester School of Art December 2017 List of Contents iii Abstract iv Acknowledgements v List of Illustrations x Preface 1 Introduction 15 Chapter One: The Craven Image: A Bifurcation of Representations 43 Chapter Two: Drawing with light 65 Chapter Three: Representing temporality and movement in photography 97 Chapter Four: Exploratory practice 126 Chapter Five: Practice-driven critiques 152 Conclusion 163 Bibliography 176 Appendices ii Abstract Many critics have highlighted the gulf between the experience of architecture and its representations via photography, suggesting a more humanistic and temporal portrayal. My research questions whether, in pursuing alternatives to conventional, commercial architectural photography, a more dynamic view can be revealed, one that is closer to the experience of encountering the built environment: episodic, temporal and in flux. I believe temporality and motion are indicative of the life of a building: both habitually omitted from traditional commercial representations. Practical and conceptual challenges directed me to techniques depicting ‘still’ and ‘moving’, that intersect with several of photography’s discourses: the evidential value of images constructed over time, the perception of movement in still photography and negotiations between description and creativity.
    [Show full text]
  • Vernacular Song and the Folkloric Imagination at the Fin De Siècle
    Vernacular Song and the Folkloric Imagination at the Fin de Siècle ROSS COLE In 1893 the polymath, folklorist, and eminent emigrate with his family to New York City, Jewish historian Joseph Jacobs read a paper—as where he became Professor of English and a stopgap—to London’s Folk-lore Society, Rhetoric at the Jewish Theological Seminary of which he had joined in 1889. Raised in Sydney, America. Jacobs journeyed to Britain in 1873; after grad- Simply titled “The Folk,” the paper he uating from the University of Cambridge, he delivered to the Folk-lore Society began as fol- studied briefly in Berlin and subsequently lows: under Francis Galton.1 A prolific scholar with a During the discussions which took place some years seemingly boundless range of interests, Jacobs ago in the Folk-lore Society as to the nature of published literary essays, fought publicly folk-lore, there was one curious omission. Much against anti-Semitism, raised funds for the was said about what the Folk believed, what the plight of persecuted Jews in Russia, and pur- Folk did, and how these sayings and doings of the sued demographic research to counter what he Folk should be arranged and classified. But very saw as the biological essentialism underpin- little indeed was said as to what the Folk was that ning the question of race. Jacobs would later said and did these things, and nothing at all was said as to how they said and did them, and especially as to how they began to say and do them. In short, in I would like to thank Philip Bohlman, Nicholas Cook, dealing with Folk-lore, much was said of the Lore, Marina Frolova-Walker, Vic Gammon, Oskar Cox Jensen, almost nothing was said of the Folk.2 and Ceri Owen.
    [Show full text]
  • Download the Annual Review 2013–14
    THE BIGGEST MUSEUM ALLIANCE SCIENCE IN / The Science Museum helped The universe cannot wish The National Railway fuel my fascination with for a more perceptive eye Museum’s celebration of physics. So it is wonderful to see that than the Science Museum Mallard’s world speed record was more young people than ever are ROBBERT DIJKGRAAF a triumph, attracting an astonishing DIRECTOR AND LEON LEVY PROFESSOR AT THE INSTITUTE FOR getting the opportunity to feel that ADVANCED STUDY IN PRINCETON 364,000 visits same inspiration LORD FAULKNER OF WORCESTER SMG TRUSTEE PROFESSOR STEPHEN HAWKING AT THE LAUNCH OF THE COLLIDER EXHIBITION The Museum of Science & Our Bradford collections Industry is a fantastic asset hold many treasures by and will help keep the northwest’s media pioneers from the dawn of spirit of curiosity and innovation alive photography. These collections © 2014 The Board of Trustees of the Science Museum PROFESSOR BRIAN COX will drive the radical shift in UNIVERSITY OF MANCHESTER perceptions that is required to Edited by David Johnson with generous input from staff at SMG attract more visitors into the and its many bloggers National Media Museum LORD GRADE SMG TRUSTEE AND CHAIR, NATIONAL MEDIA MUSEUM Designed by the Science Museum Design Studio ADVISORY BOARD Project manager, Sian Worsfold SNAPSHOTS OF HUMAN INGENUITY OUR FIVE WORLD-BEATING MUSEUMS Picture researchers, Nick Hedley, Richard Nicholls Copy editor, Lawrence Ahlemeyer Science Museum, London Astronauts floating weightlessly Museum of Science & Industry, Manchester in space loved spinning around National Railway Museum, York Main photography from Group resources: like tops within the tiny Apollo Museum of Science & Industry 10 command module.
    [Show full text]
  • 1 Gender, Creativity and Education in Digital Musics and Sound Art
    Gender, Creativity and Education in Digital Musics and Sound Art DRAFT OF ARTICLE/ISSUE PUBLISHED IN CONTEMPORARY MUSIC REVIEW (2016) Georgina Born (*corresponding author) Faculty of Music University of Oxford St Aldates Oxford OX1 1DB UK +44 (0)1865 286079 [email protected] Kyle Devine Department of Musicology University of Oslo PO Box 1017 Blindern 0315 Oslo Norway +47 22 85 40 60 [email protected] Bios Georgina Born is Professor of Music and Anthropology at the University of Oxford. She holds or recently held visiting professorships at McGill University, the University of California, Berkeley, and Oslo University. Her work focuses on cultural production, often in the guise of major western cultural institutions, notably the BBC and IRCAM. From 2010 to 2015 she directed the European Research Council-funded research programme ‘Music, Digitization, Mediation: Towards Interdisciplinary Music Studies’. In 2015 she returned ‘officially’ for the first time to IRCAM to give a keynote in the ‘Tracking the Creative Process in Music’ conference. Kyle Devine is an associate professor in the Department of Musicology at the University of Oslo, and a researcher with the ‘Music, Digitization, Mediation’ Research Group at the University of Oxford. His books include Decomposed: The Political Ecology of Music (MIT Press, forthcoming), Living Stereo: Histories and Cultures of Multichannel Sound (Bloomsbury 2015) and The Routledge Reader on the Sociology of Music (Routledge 2015). 1 Gender, Creativity and Education in Digital Musics and Sound Art Abstract This special issue examines the politics of gender in relation to higher education, creative practices and historical processes in electronic music, computer music and sound art.
    [Show full text]
  • PMU Volume 10 Issue 3 Back Matter
    VIBRATIONS musiques, madias, soci&& Rock: de I'histoire au mythe dirige" par Patrick Mignon et Antoine Hennion Introduction, Patrick Mignon L'hisloire et le mythe... "Mais pourquoi done en 19SS 7 Comment expliquer la naissance du rock", Richard Peterson "Won't get fooled again 7 Pop musique et ideologic de la generation abusee", Erik Neva* "Le Noir, la Femme et le Sudiste. Une mythoiogie du rock sous presse", Marie-Christine Bonzom Vartiste, le concert, le public "Du rock a l'oeuvie", Jean-Michel Lucas "Scene rock, conceit dassique", Antoine Hennion "Rock et seduction", Eugine LLedo Lieux et milieux "Les groupes de rock nantais", Catherine DoubUDutneil ""La Revolution francaise", ou les avatars commerciaux de "p&heurs" rock quelecois...", Robert Saucier "Pertinence et culture rock: les musiques nouvelles", Marie-Berthe Servier "Les musiciens de jazz et le rock", Biatrice Madiot La politique, les politiques, la culture... "Paris/Givors : le rock local", Patrick Mignon "Une politique culturelle du rock 7", Philippe Teillet "Souvenirs, souvenirs...", Simon Frith Bibtiographie exhaustive du domaine (France-Grande Bretagpe-£tats-Unh), Patrick Mignon • PARUTION SEPTEMBRE 1991 Anthropos Diffusion : Economica, 49 rue Hiricart 75015 Paris Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.8, on 30 Sep 2021 at 18:13:18, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S026114300000461X Popular Music VOL. 10 NO. 1 Issue editors: January 1991 DAVID HORN Pages 1-114 DAVE LAING VOL. 10 NO. 2 Issue editors: JAN FAIRLEY May 1991 RICHARD MIDDLETON Pages 115-258 VOL.
    [Show full text]
  • Dickson, Lesley-Ann (2014) Film Festival and Cinema Audiences: a Study of Exhibition Practice and Audience Reception at Glasgow Film Festival
    Dickson, Lesley-Ann (2014) Film festival and cinema audiences: a study of exhibition practice and audience reception at Glasgow Film Festival. PhD thesis. http://theses.gla.ac.uk/5693/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten:Theses http://theses.gla.ac.uk/ [email protected] Film Festival and Cinema Audiences: A study of exhibition practice and audience reception at Glasgow Film Festival Lesley-Ann Dickson A thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy University of Glasgow School of Culture and Creative Arts September 2014 Abstract This thesis takes the view that film festivals are ‘social constructions’ and therefore need social subjects (people) to function. From global media audiences to those physically present at screenings: it is people who make film festivals (Dayan 2000). Nevertheless, Film Festival Studies, with its preoccupation with global economics and/or the political nature of these events, has arguably omitted the ‘audience voice’ meaning much of the empirical work on offer derives from market research by festivals themselves. As such, there is little conceptual contribution about what makes festivals culturally important to audiences or the ways in which festival practice differs from, or synergises with, broader cinematic practice.
    [Show full text]
  • N E W S L E T T
    Harvard University Department of M usic MUSICnewsletter Vol. 14, No. 1 Winter 2014 Border Crossings: Kate van Orden Looks at 16th-Century Musical Migration Music Building When Professor Kate van Orden tracked a North Yard 16th-century French chansonnier across the Harvard University Alps to Italy, she discovered she’d embarked Cambridge, MA 02138 on a rich new vein of research. She’d also 617-495-2791 become the first Renaissance scholar to ask what it means when vernacular musics travel www.music.fas.harvard.edu beyond their natural, national contexts. “Western art music has always been INSIDE categorized: Lied is German; chanson, French; madrigal, Italian. But some genres 2 Abbate named University Professor cross borders. Following the migration of 2 Faculty News music and musicians disrupts the nationalist 3 Jason Robert Brown, A-I-R history of music in Europe.” Scholars of European music have long 3 Remembering Rulan Pian been working within the parameters of the Van Orden joined the Music Department faculty in July, 2013. She 19th century, says van Orden, which often 4 Czernowin’s Revolution also specializes in historical performance on the bassoon. sanitized history to give nations a false sense of wholeness, an ethnic purity. From this we have hard to write. In France, you feel the effect of the the myth of “folk,” who never traveled. Revolution, that two hundred plus years ago most “It’s just not true,” she explains. “People were of the books were thrown into piles and destroyed. really mobile in the 16th century. There were This didn’t happen in Italy.
    [Show full text]
  • Cheltenham Symphony’
    richard witts Shopping and Fricker: the origins of the Cheltenham Festival of Modern British Music and the ‘Cheltenham Symphony’ The author is grateful to t remains a remarkable fact that during World War 2 a civic the late Mrs Ann Wilkinson and the late Mrs Eleanor enter tain ments manager in the Cotswolds planned a festival of modern Budge, whose husbands Imusic. The Tory council supported his idea. He staged it merely five were involved with the weeks after the war’s end, and it continued yearly and continues still. Festival’s creation; Steven Blake, curator of the Cheltenham’s summer festival of music occasionally tweaked its name to Cheltenham Museum; Sue meet the evolving demands of marketing, as Table 1 shows, while the share Robbins, archivist of the Gloucestershire Echo; Sue of new music in it steadily dwindled. Yet it has remained a presence on the Liptrot of the Cheltenham festival calendar and in certain contemporary music circles for 70 years. Reference Library; Meurig I argue here that the festival’s precepts are tied to the political and Bowen of Cheltenham Music Festival; Lewis Foreman, economic strategies of Cheltenham town itself. Even so, the origins of the Simon Frith and, above all, festival in wartime England deserve wider examination for three reasons. Jeremy Tyndall, formerly Head of Cheltenham Firstly, Britain’s integrative national arts policy is based on a 1940s formula Festivals. in which Cheltenham became the first peacetime example of that system in action for new music. Secondly, Cheltenham initiated the postwar arts festival movement. According to the British Arts Festivals Association there are around 140 such festivals in force, and 2,000 in general across the United Kingdom.
    [Show full text]