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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. -
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. -
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. -
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. -
2019 Richardson Helen 09664
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ The economics of opera in England 1925-1939 Richardson, Helen Joanna Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 04. Oct. 2021 The Economics of Opera in England: 1925-1939 Helen Richardson King’s College London August 2019 A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in the Department of Music. -
Black Voices, German Rebels: Acts of Masculinity in Postwar Popular Culture
Black Voices, German Rebels: Acts of Masculinity in Postwar Popular Culture By Priscilla Dionne Layne A dissertation submitted in partial satisfaction of the requirements of the degree of Doctor of Philosophy in German and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Deniz Göktürk, Chair Professor Anton Kaes Professor Jocelyne Guilbault Spring 2011 Abstract Black Voices, German Rebels: Acts of Masculinity in Postwar Popular Culture by Priscilla Dionne Layne Doctor of Philosophy in German and the Designated Emphasis in Film Studies University of California, Berkeley Professor Deniz Göktürk, Chair This dissertation examines practices of embodying Black popular culture in Germany. My analysis is based on close readings of texts from a variety of media including novels, films and musical theater from West and East Germany of the 1950s to the reunified Germany of the 1990s. Black popular culture, particularly popular music, has appealed to Germans since the 19th century, when the Fisk Jubilee singers toured Europe. In most of my analyses, music plays a prominent role as a gateway to Black popular culture. Stuart Hall defines Black popular culture as a product of the African Diaspora, therefore it is produced in a space populated by people who are linked to many different geographic locales. Nevertheless, in the texts I examine, the African American contribution to this culture is given precedent. This preference for African American culture is based on an articulation of factors, including the large presence of African American GIs in occupied postwar Germany and German stereotypes that designate African Americans as both primitive and modern, oppressed victims yet also producers of incredibly different, liberating styles. -
What Is Post-Punk?
What is Post-Punk? A Genre Study of Avant-Garde Pop, 1977-1982 Mimi Haddon Schulich School of Music McGill University, Montréal April 2015 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Ph.D. in Musicology © Mimi Haddon 2015 iii TABLE OF CONTENTS Abstract ........................................................................................................................................... vi Résumé ......................................................................................................................................... vii Acknowledgements ..................................................................................................................... viii List of Musical Examples ................................................................................................................ x List of Diagrams and Tables ........................................................................................................... xi List of Figures ............................................................................................................................... xii INTRODUCTION ........................................................................................................................... 1 Historiography and Genre ........................................................................................................ 4 Genre as Musical Style .......................................................................................................... -
Revue Française De Civilisation Britannique, XXVI-1 | 2021 Reforming Radio: BBC Radio’S Music Policy 1957-1967 2
Revue Française de Civilisation Britannique French Journal of British Studies XXVI-1 | 2021 The BBC and Public Service Broadcasting in the Twentieth Century Reforming Radio: BBC Radio’s Music Policy 1957-1967 La Réforme de la radio: la politique musicale de la BBC 1957-1967 Richard Witts Electronic version URL: http://journals.openedition.org/rfcb/7717 DOI: 10.4000/rfcb.7717 ISSN: 2429-4373 Publisher CRECIB - Centre de recherche et d'études en civilisation britannique Electronic reference Richard Witts, “Reforming Radio: BBC Radio’s Music Policy 1957-1967”, Revue Française de Civilisation Britannique [Online], XXVI-1 | 2021, Online since 05 December 2020, connection on 05 January 2021. URL: http://journals.openedition.org/rfcb/7717 ; DOI: https://doi.org/10.4000/rfcb.7717 This text was automatically generated on 5 January 2021. Revue française de civilisation britannique est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Reforming Radio: BBC Radio’s Music Policy 1957-1967 1 Reforming Radio: BBC Radio’s Music Policy 1957-1967 La Réforme de la radio: la politique musicale de la BBC 1957-1967 Richard Witts Introduction 1 A clipped page from Le Monde sits in an archived British Broadcasting Corporation (BBC) file dated April 1964. Like all such material in the BBC’s Written Archives Centre it has a repository code (R27/818/2 CAMP) starting with R for Radio, a formulary that will be used throughout this article to locate written sources held by the BBC. The Le Monde clip lists a week of programmes on Radio France Musique, the republic’s then- reborn classical music station. -
Richard Witts Manpool, the Musical: Harmony and Counterpoint on the Lancashire Plain. Richard Witts Is Reader in Music and Soun
Richard Witts Manpool, the musical: harmony and counterpoint on the Lancashire Plain. Richard Witts is Reader in Music and Sound at Edge Hill University. He is the author of the biog- raphy of the German chanteuse Nico (1993, revised edition 2017), a study of the music of The Vel- vet Underground (2008), and a history of the Arts Council (1999). He has contributed many articles for journals, including recently The Musical Times (Summer 2015) and vol.7/3 of Popular Music History (2012). His contributions to BBC radio include the documentaries 1968 in America and The Technocrats where he discussed pop music with Stockhausen. Edge Hill University St. Helens Road Ormskirk, Lancashire L39 4QP [email protected] Abstract Since 2015 Liverpool has been designated a UNESCO ‘City of Music’. Not so its neighbour Manchester, which has nonetheless been hailed in the press as the ‘capital city of music’. They remain globally valued as two of the chief cities identified with the development of popular music in the second half of the twentieth century. As de-industrialised centres seeking new engines of growth, they have invested in these cultural reputations in order to attract for themselves tourists, university students, the conference trade and foreign business. Yet across the past decade numerous claims have been made in a range of journalistic outputs that Liverpool and Manchester are cultural rivals. These claims appear to be predicated principally on sport and music, key meeting points of commerce and leisure. There are certainly differences between the two conurbations – the industrial site of Man- chester grew at the interstices of three rivers while Liverpool evolved as an Atlantic port. -
Encountering the Hidden Worlds of Musical Objects Adam Parkinson
Encountering the Hidden Worlds of Musical Objects Adam Parkinson Submitted for qualification of Doctor of Philosophy (Music), School of Arts and Cultures / Culture Lab, Newcastle University, September 2011 Adam Parkinson Encountering the Hidden Worlds of Musical Objects Abstract This thesis articulates an approach to our musical interactions with sounds and technologies influenced by Object Oriented Philosophy and the thought of Gilles Deleuze. The research question is borne out of the practice itself and the questions it poses: how to make sense of my own relationship with sounds as a listener, improviser and composer, and how to understand my engagement with the technologies which mediate this relationship. The most prominent technology I encounter is the laptop, which throughout my practice is used as a musical instrument, and a large part of my research also involves the development of a sensor instrument which utilises the Apple iPhone. The research thus serves as an exploration of both the laptop-as-instrument and certain ‘post laptop’ possibilities, alongside the development of a framework within which to critically consider our relationships to these new instruments. Music involves multiple ‘objects’, a concept which includes (but is not limited to) sounds, songs, instruments, speakers, performers and listeners. Object Oriented Philosophy tells us that these objects are withdrawn: they possess ‘hidden worlds’ or reservoirs of potential that we do not exhaust through any one encounter. Sounds and instruments can be always be used in different ways and reveal different qualities through the networks they are placed in. Listening and playing are construed as being a challenge to find the hidden potentials and affordances in sounds, through changing the way we listen or recontextualising or reworking the sound itself: a range of different strategies for approaching sounds is discussed. -
53Rd ANNUAL CONFERENCE LIVERPOOL 2017
53rd ANNUAL CONFERENCE LIVERPOOL 2017 The British Music Collection is a remarkable archive of 40,000 scores, recordings, letters, photographs, programme notes and much more.Dating from the early 1900s to the present day, CONFERENCE COMMITTEE it features some of the finest composers and sonic artists to come out of the UK. Kenneth Smith (University of Liverpool, chair) Warwick Edwards (University of Glasgow, RMA Conferences Co-ordinator) Katy Hamilton (representing the RMA) Freya Jarman (University of Liverpool) Holly Rogers (Goldsmiths) Marion Leonard (University of Liverpool) Guido Heldt (University of Bristol) Hae-kyung Um (University of Liverpool) Lauren Redhead (Canterbury Christ Church University) Sound and Music is developing the Collection into a living archive and world leading resource for the discovery of new music. If you are a composer, you can be part of it. If you love new music, you can help shape its future. WELCOME Dear Colleagues Welcome to the 53rd Annual Conference of the Royal Musical Association, taking place at the University of Liverpool. This year we have assembled the biggest programme yet in the Association’s history, with 220 speakers and musicians from eighteen different countries The conference highlights the Edward J. Dent medal presentation and Lecture by Mark Katz and the Peter Le Huray Lecture by Andrea Lindmayr-Brandl, along with panel discussions by internationally renowned scholars and practitioners, individual The Music of Simon Holt Brahms and his Poets papers on topics ranging from thirteenth-century song to the Eurovision Song Contest, a concert, lecture- Edited by DAVID CHARLTON A Handbook recitals and poster sessions. In addition there are the Annual General Meeting of the Association, receptions at the Royal Liverpool Philharmonic (sponsored by Routledge Publishing) and at Tate Liverpool, Bringing together well-known writers with NATASHA LOGES composers and performers, this volume gives and an exhibition of books and other materials. -
Patronage, Professionalism and Youth: the Emerging Artist and London’S Art Institutions 1949–1988
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Patronage, professionalism and youth: the emerging artist and London’s Art institutions 1949–1988 https://eprints.bbk.ac.uk/id/eprint/40044/ Version: Public Version Citation: Massouras, Alexander (2013) Patronage, professionalism and youth: the emerging artist and London’s Art institutions 1949–1988. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email PATRONAGE, PROFESSIONALISM AND YOUTH: THE EMERGING ARTIST AND LONDON’S ART INSTITUTIONS 1949–1988 Alexander Massouras London Consortium Birkbeck, University of London Submitted for the degree of Ph.D. in Humanities and Cultural Studies 1 Declaration I, ALEXANDER MASSOURAS, declare that this thesis and the work presented in it are my own and has been generated by me as the result of my own original research. I confirm that: 1. This work was done wholly while a candidate for a research degree at this University. 2. Where I have consulted the published work of others, this is always clearly attributed. 3. Where I have quoted from the work of others, the source is always given. With the exception of such quotations, this thesis is entirely my own work. 4. I have acknowledged all main sources of assistance. 5. None of this work has been published before submission. Signed: ………………………………………………………. 2 ABSTRACT PATRONAGE, PROFESSIONALISM AND YOUTH: THE EMERGING ARTIST AND LONDON’S ART INSTITUTIONS, 1949–1988 [London: The London Consortium 2012] In 1949, the first Young Contemporaries exhibition presented work by art school students in London.