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A Short History of Pop ‘Pop’ Is Short for Popular Music
Read the text. A short history of pop ‘Pop’ is short for popular music. There are different styles of pop music, but they all appeal to the general public. But when did ‘modern’ pop music begin? There were two significant moments. First of all Leo Fender invented the electric guitar in 1950. Then, in 1954, Sony introduced the transistor radio and after that, music was accessible to people in their homes and cars. In 1954 Elvis Presley released That’s All Right. He fused country music with black rhythm and blues to create rock and roll. At that time this was an innovation, and Elvis, who was young, attractive and exciting, became the first teen idol and made pop music a youth culture. The 1960s was the decade of The Beatles, who dominated pop music from 1961 to 1970 with a new folk-rock sound. The Beatles were the first band to play in a stadium: Shea Stadium in New York in 1965. In June 1969 they had their seventeenth number one hit – two more than Elvis. The 60s also saw the first outdoor music festivals and popular music began to have a social and political message, for example, Bob Dylan. This was also the beginning of Motown and soul music with artists like Ray Charles, The Supremes and Marvin Gaye. Think English Elementary • Unit 9 p.107 © Oxford University Press PHOTOCOPIABLE Next came the 1970s and several new genres of music appeared, like reggae (Bob Marley), glam rock (David Bowie), punk (the Sex Pistols) and heavy metal (Iron Maiden). -
Orbit-ALA Sampler 2021.Indd
ALA ANNUAL EXCLUSIVE SAMPLER 7/20/21 8/17/21 9/8/21 Notes from the Wildwood Whispers The Seven Visitations Burning Age Willa Reece of Sydney Burgess Claire North Redhook • pg. 17 Andy Marino Orbit • pg. 2 Redhook • pg. 27 9/21/21 10/19/21 10/26/21 The Body Scout Sistersong Far from the Light Lincoln Michel Lucy Holland of Heaven Orbit • pg. 38 Redhook • pg. 46 Tade Thompson Orbit • pg. 55 WWW.ORBITBOOKS.NET Chapter 1 Yue was twelve when she saw the kakuy of the forest, but later she lied and said she saw only fl ame. “Keep an eye on Vae!” hollered her aunty from her workshop door. “Are you listening to me?” It was the long, hot summer when children paddled barefoot in the river through the centre of Tinics, a time for chasing but- terfl ies and sleeping beneath the stars. School was out, and every class had found the thing that was demonstrably the best, most impressive thing to do. For the tenth grades about to take their aptitudes, it was cycling down the path from the wind farm head fi rst, until they either lost their courage or their bikes fl ipped and they cartwheeled with bloody knees and grazed elbows. For the seventh, it was preparing their kites for the fi ghting season; the ninth were learning how to kiss in the hidden grove behind the compression batteries, and to survive the fi rst heartbreak of a sixty- second romance betrayed. Yue should have been sitting on grassy roofs with her class, making important pronouncements about grown- up things, now that she was twelve and thus basically a philosopher- queen. -
Freedom and the State: the Social Contract This Course Aims To
Freedom and the State: The Social Contract This course aims to introduce students to central questions in political philosophy, through engagement with the work of several significant political philosophers: Thomas Hobbes, John Locke, Jean-Jacques Rousseau, Immanuel Kant and John Rawls. The topics with which we will be most deeply concerned include the legitimacy of the state; the limits of the state’s authority; the basis of rights of resistance or rebellion; the relevance of consent to political authority; the nature and value of freedom; the relationship between politics and human nature; and social justice. We will also, as often as we can, attempt to relate the views of these philosophers to contemporary debates. Program of lectures and reading Week 1 (15/01) Lecture 1: Political Legitimacy and the Social Contract Tradition Reading: Easy: Wolf (2006): 34-48. Easier: ‘Authority’ and ‘Political Obligation’ in the Stanford Encyclopedia of Philosophy. Harder: Boucher & Kelly (1994): ch. 1. Hampton (1997): Chapter 3. Week 2 (22/01) Lecture 2: Hobbes on Human Nature and the State of Nature Primary Reading: Leviathan, Part I, chs. 11, 13-16. Secondary Reading: Easy: Wolf (2006): 8-17. Easier: Levine (2002): 15-32. Newey (2008): ch. 4-5. Harder: Warburton, Pike and Matravers (2000): 100-105. Seminar question: If human nature is, or were, as Hobbes describes it, does it follow that life in the state of nature would be ‘solitary, poore, nasty, brutish and short’? Week 3 (29/01) Lecture 3: Hobbes on the Covenant, the Sovereign and the Right to Rebel Primary Reading: Leviathan, Part II, chs. -
Downloaded from Manchesterhive.Com at 09/25/2021 09:21:39AM Via Free Access Chap 16 23/1/03 7:51 Am Page 197
chap 16 23/1/03 7:51 am Page 196 16 International justice David Boucher Introduction Is justice intra-national or international, localised or globalised, communi- tarian or cosmopolitan, universal or particular, in its scope? Do richer coun- tries have a duty to help poorer countries and, if so, is this duty a matter of charity or justice, or both? Answers to these questions are often dependent upon an answer to a prior question: are state boundaries morally arbitrary and, if so, do we have a responsibility to help the less well off beyond these borders? A whole range of positions are taken which often cut across the cosmopolitan–communitarian divide favoured by such theorists who work within the field of international relations as Chris Brown, Janna Thompson, Charles Jones and Peter Sutch.1 Cosmopolitanism points to the justification of our moral principles as having a universal basis. For the cosmopolitan the existing social arrangements have no special status as the source of our value. The type of universal principles required is generated by three different sources of cosmopolitanism: Kantian- ism, utilitarianism and Marxism. Although utilitarianism is an entirely differ- ent moral theory from that of Kant, it is nevertheless cosmopolitan. Jeremy Bentham is, of course, the classic utilitarian. His theory is clearly cosmopolitan in that values are universal, and not the product of various particularistic com- munities. Each individual feels pleasure and pain and this is the basis of human values. Individuals have a basic duty to increase the happiness of humankind in general. The institutions of the family and state, for example, have claims on our duty because they promote the maximisation of the general happiness and not because they have priority over utility. -
Inventing Westphalia
Inventing Westphalia Nicholas Pingitore Senior Thesis Spring, 2020 Advisors: Ethan Shagan and Raphael Murillo Pingitore 1 Introduction The Westphalian Moment, if there ever was one, may quite well have occurred more than 100 years after the signing of the now famous Peace, and in Geneva no less. Writing around 1756, Jean-Jacques Rousseau declared in his treatise, A Lasting Peace Through the Federation of Europe that “the Treaty of Westphalia will perhaps forever remain the foundation of our international system.”1 Prevailing social science lore would find no fault with Rousseau’s logic. Examples abound from the last 70 years of various political theories, international histories, university conferences, even modern military alliances, referencing Westphalia.2 Invariably, there are some differences in how these thinkers frame the importance of Westphalia, but the general mold is familiar enough to any sophomore undergraduate enrolled in a course on international relations.3 It goes as follows: The Thirty Years’ War lasted from 1618-1648. This three-decade-long catastrophe was perhaps Europe’s first modern continental war. While the majority of the conflict took place in central Europe, it drew upon every “great power” resulting in an estimated five to eight million deaths. Modern estimates would suggest that such a toll resulted in a 15–20 percent decline in Europe’s population.4 By 1 Jean-Jacques Rousseau, Translated by C.E. Vaughan, A Lasting Peace Through The Federation of Europe and The State of War, London: Constable and Company Limited, 1917, p. 55. 2 Javier, Solana. “Securing Peace in Europe.” Speech presented at the Symposium on the Political Relevance of the 1648 Peace of Westphalia, Münster, Germany, November 12, 1998. -
CHAN 3029 Book Cover.Qxd 24/7/07 4:32 Pm Page 1
CHAN 3029 book cover.qxd 24/7/07 4:32 pm Page 1 CHAN 3029 CHANDOS O PERA I N ENGLISH Sir Charles Mackerras PETE MOOES FOUNDATION CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 2 Leosˇ Janácˇek (1854–1928) Osud (Fate) Opera in three acts Libretto by Leosˇ Janácˇek and Fedora Bartosˇová English translation by Rodney Blumer AKG Míla Valková .............................................................................................................. Helen Field Zˇ ivn´y, a composer .............................................................................................. Philip Langridge Míla’s mother ...................................................................................................... Kathryn Harries Act I A poet, A student .................................................................................................... Peter Bronder Dr Suda ........................................................................................................................Stuart Kale First lady .............................................................................................................. Christine Teare Second lady ........................................................................................................ Elizabeth Gaskell Old Slovak woman ................................................................................................ Dorothy Hood Major’s wife .............................................................................................................. Mary Davies Councillor’s wife................................................................................................... -
Dissertation Final Corrected
FROM PENCIL TO PERFORMANCE: The creative nexus of arranging, orchestration and music direction in works of contemporary pop/rock musical theatre BRYAN SCHIMMEL 8300995 A thesis submitted to the Faculty of Humanities University of the Witwatersrand, Johannesburg in fulfilment of the requirements for the Degree of Master of Music Final Corrected Submission 22 September 2014 ABSTRACT In the art form of musical theatre, available literature on the creative musical aspects of musicals has focused primarily on the composers and/or lyricists; their works having been extensively analysed and documented. There is, however, comparatively less literature and documentation on the processes that guide the transformation of the theatre composer’s work to an eventual performance embracing arranging, orchestration and music direction. This dissertation explores these practices from two perspectives – the creative and the recreative. First, from the creative perspective, I challenge Joseph P. Swain who makes a compelling case for composition as a tool of dramaturgy in his book The Broadway Musical: A Critical and Musical Survey (2002). I contest that his argument cannot hold true for pop/rock musicals in which the scores are comprised of pre-existing popular music that was not originally or intentionally composed for the stage. In order to understand how music functions as a dramatic element in musical theatre, it must follow that all collaborative creative forces that contribute to this music must be evaluated in a holistic manner. Dramaturgy contextualises and elucidates storytelling and artistic vision. While Swain has postulated that composition is an element of dramaturgy, I offer the notion that since arranging and orchestration contextualise and elucidate the composition they therefore cannot be excluded as dramaturgical devices. -
Nowyes632475.Pdf
Published by PEACHTREE PUBLISHING COMPANY INC. 1700 Chattahoochee Avenue Atlanta, Georgia 30318-2112 www.peachtree-online.com Text © 2021 by Bill Harley Cover and interior illustrations © by Pierre-Emmanuel Lyet 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, photocopy, recording, or any other—except for brief quotations in printed reviews, without the prior permission of the publisher. Edited by Vicky Holifield Cover design by Kate Gartner Interior design and composition by Adela Pons Printed in February 2021 by LSC Communications in Harrisonburg, VA in the United States of America. 10 9 8 7 6 5 4 3 2 1 First Edition ISBN 978-1-68263-247-5 Cataloging-in-Publication Data is available from the Library of Congress. BILL H ARLEY To Debbie Block in all ways, always —B. H. Chapter ONE “The barbecue ones,” Conor says. “I know,” Mari says for the fourth time. “I don’t like the other ones. Especially not the vinegar ones. They’re bad.” Conor is standing sideways to the rows of snacks, facing the aisle that leads away from the meat section. His head is down—he’s not looking at her. He never looks at her. He’s not looking at anything except his fingers, which are opening and closing like they’re on the inside of a puppet and the puppet is talking. But the puppet is silent. It’s the motion of the hand that fascinates him, that has always fascinated him. -
Hobbes's Contribution to International Thought, and the Contribution of International Thought to Hobbes
History of European Ideas ISSN: 0191-6599 (Print) 1873-541X (Online) Journal homepage: http://www.tandfonline.com/loi/rhei20 Hobbes's Contribution to International Thought, and the Contribution of International Thought to Hobbes David Boucher To cite this article: David Boucher (2015) Hobbes's Contribution to International Thought, and the Contribution of International Thought to Hobbes, History of European Ideas, 41:1, 29-48, DOI: 10.1080/01916599.2014.948289 To link to this article: http://dx.doi.org/10.1080/01916599.2014.948289 Published online: 22 Sep 2014. Submit your article to this journal Article views: 146 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rhei20 Download by: [University of Cambridge] Date: 11 November 2015, At: 02:41 History of European Ideas, 2015 Vol. 41, No. 1, 29–48, http://dx.doi.org/10.1080/01916599.2014.948289 Hobbes’s Contribution to International Thought, and the Contribution of International Thought to Hobbes DAVID BOUCHER* Department of Politics and International Relations, Cardiff University, UK and Department of Politics, University of Johannesburg, South Africa Summary The aim of this article is to explore in what respects Thomas Hobbes may be regarded as foundational in international thought. It is evident that in contemporary international relations theory he has become emblematic of a realist tradition, but as David Armitage suggests this was not always the case. I want to suggest that it is only in a very limited sense that he may be regarded as a foundational thinker in international relations, and for reasons very different from those for which he has become infamous. -
Copyright by Jessica Lyle Anaipakos 2012
Copyright by Jessica Lyle Anaipakos 2012 The Thesis Committee for Jessica Lyle Anaipakos Certifies that this is the approved version of the following thesis: Celebrity and Fandom on Twitter: Examining Electronic Dance Music in the Digital Age APPROVED BY SUPERVISING COMMITTEE: Supervisor: Shanti Kumar Janet Staiger Celebrity and Fandom on Twitter: Examining Electronic Dance Music in the Digital Age by Jessica Lyle Anaipakos, B.S. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin December 2012 Dedication To G&C and my twin. Acknowledgements This thesis would not have been possible without the guidance, encouragement, knowledge, patience, and positive energy of Dr. Shanti Kumar and Dr. Janet Staiger. I am sincerely appreciative that they agreed to take this journey with me. I would also like to give a massive shout out to the Radio-Television-Film Department. A big thanks to my friends Branden Whitehurst and Elvis Vereançe Burrows and another thank you to Bob Dixon from Seven Artist Management for allowing me to use Harper Smith’s photograph of Skrillex from Electric Daisy Carnival. v Abstract Celebrity and Fandom on Twitter: Examining Electronic Dance Music in the Digital Age Jessica Lyle Anaipakos, M.A. The University of Texas at Austin, 2012 Supervisor: Shanti Kumar This thesis looks at electronic dance music (EDM) celebrity and fandom through the eyes of four producers on Twitter. Twitter was initially designed as a conversation platform, loosely based on the idea of instant-messaging but emerged in its current form as a micro-blog social network in 2009. -
Copyright by Peter James Kvetko 2005
Copyright by Peter James Kvetko 2005 The Dissertation Committee for Peter James Kvetko certifies that this is the approved version of the following dissertation: Indipop: Producing Global Sounds and Local Meanings in Bombay Committee: Stephen Slawek, Supervisor ______________________________ Gerard Béhague ______________________________ Veit Erlmann ______________________________ Ward Keeler ______________________________ Herman Van Olphen Indipop: Producing Global Sounds and Local Meanings in Bombay by Peter James Kvetko, B.A.; M.M. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment for the Degree of Doctor of Philosophy The University of Texas at Austin May 2005 To Harold Ashenfelter and Amul Desai Preface A crowded, red double-decker bus pulls into the depot and comes to a rest amidst swirling dust and smoke. Its passengers slowly alight and begin to disperse into the muggy evening air. I step down from the bus and look left and right, trying to get my bearings. This is only my second day in Bombay and my first to venture out of the old city center and into the Northern suburbs. I approach a small circle of bus drivers and ticket takers, all clad in loose-fitting brown shirts and pants. They point me in the direction of my destination, the JVPD grounds, and I join the ranks of people marching west along a dusty, narrowing road. Before long, we are met by a colorful procession of drummers and dancers honoring the goddess Durga through thundering music and vigorous dance. The procession is met with little more than a few indifferent glances by tired workers walking home after a long day and grueling commute. -
Fizzy Drinks and Sufi Music: Abida Parveen in Coke Studio Pakistan
Fizzy Drinks and Sufi Music: Abida Parveen in Coke Studio Pakistan By Zainub Beg A Thesis Submitted to Saint Mary’s University, K’jipuktuk/Halifax, Nova Scotia in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Theology and Religious Studies. December 2020, Halifax, Nova Scotia Copyright Zainub Beg, 2020 Approved: Dr. Syed Adnan Hussain Supervisor Approved: Dr. Reem Meshal Examiner Approved: Dr. Sailaja Krishnamurti Reader Date: December 21, 2020 1 Fizzy Drinks and Sufi Music: Abida Parveen in Coke Studio Pakistan by Zainub Beg Abstract Abida Parveen, often referred to as the Queen of Sufi music, is one of the only female qawwals in a male-dominated genre. This thesis will explore her performances for Coke Studio Pakistan through the lens of gender theory. I seek to examine Parveen’s blurring of gender, Sufism’s disruptive nature, and how Coke Studio plays into the two. I think through the categories of Islam, Sufism, Pakistan, and their relationship to each other to lead into my analysis on Parveen’s disruption in each category. I argue that Parveen holds a unique position in Pakistan and Sufism that cannot be explained in binary terms. December 21, 2020 2 Table of Contents Abstract ................................................................................................................... 1 Acknowledgements ................................................................................................ 3 Chapter One: Introduction ..................................................................................