Brahms Patriotic and Political
Offers a historical context in which to understand how Brahms's three most intensely political and nationalistic works interact with questions of German patriotism, liberalism and nationalism. Johannes Brahms rarely composed music that engaged the national-political issues of the day. Three of his works, though, do precisely this: the F羹nf Lieder f羹r M瓣nnerchor; the Triumphlied for eight-part chorus and orchestra; and the Fest- und Gedenkspr羹che for eight-part chorus a cappella. In Brahms Patriotic and Political, David Brodbeck challenges notions that Brahms's political music evinces embarrassing anticipations of later Prussian militarism and German chauvinism. Instead, he provides a thick historical context in which to read these works and offers a more nuanced understanding of the intersections of Brahms's music and questions of German patriotism, liberalism, and nationalism than has been customary in the field of historical musicology. In particular, Brodbeck relates the M瓣nnerchor-Lieder to the debate over how and in what form a German nation-state might be achieved; he relates the Triumphlied to the euphoria but also the solemnity that attended the foundation of the German Reich; and he relates the Fest- und Gedenkspr羹che to the necessary work of instilling in the diverse German people a genuine sense of national belonging. At the same time, he traces Brahms's changing attitude toward Otto von Bismarck, the "Blacksmith of the Reich," whom he originally loathed but, in time, came to venerate.Brahms Patriotic and Political will appeal to readers with interests in both nineteenth-century German music and Central European history.
The Music Trade in Regional Britain, 1650-1800
Explores the breadth, diversity and significance of the commercial music trade and its communities across Britain during the late seventeenth and eighteenth centuries. Adding to the existing scholarship on music publishers and instrument makers, mostly based in London and the university cities, the collection challenges this historiography by offering the first collective narrative for the commercial trade in musical goods and services - including the printing, publishing and sale of printed music, the sale of manuscript music, musical instruments and related wares, and the tuning and general maintenance of musical instruments such as organs and pianos. Contributions draw on evidence from across the country of the trade's activities, networks and communities, and recognize the significance of small cities, market towns and regional hubs in cultural dissemination. The Music Trade in Regional Britain therefore contributes to a growing body of work offering a nationwide account of musical culture. It foregrounds a trade that was far more geographically dispersed, economically significant and culturally broad than has previously been acknowledged. CONTRIBUTORS: Stephanie Carter, Simon D.I. Fleming, David Griffiths, Nancy A. Mace, Martin Perkins, Christopher Roberts, Roz Southey, Matthew Spring, Robert Thompson
The Routledge Handbook of Music and Migration
The Routledge Handbook of Music and Migration: Theories and Methodologies is a progressive, transdisciplinary paradigm-shifting core text for music and migration studies. It foregrounds the mobile potentials of music and presents key arguments about why musical expressions matter in the discussion of migration politics.
Let’s Spend the Night Together
Let's spend the night together explores how sex and sexuality provided essential elements of British youth culture in the 1950s through to the 1980s. It shows how the underlying sexual charge of rock 'n'roll - and pop music more generally - was integral to the broader challenge embodied in the youth cultures that developed after World War Two. As teenage hormones rushed to move to the music and take advantage of the spaces opening up through consumption, education and employment, so the boundaries of British morality and cultural propriety were tested and often transgressed. Be it the assertive masculinity of the teds or the lustful longings of the teeny-bopper, the gender-bending of glam or the subterranean allure of an underground club/disco, the free love of the 1960s or the punk provocations in the 1970s, sex was forever to the fore and, more often than not, underpinned the moral panics that fitfully followed any cultural shift in youthful style and behaviour. Drawing from scholarship across a range of disciplines, the Subcultures Network explore how sex and sexuality were experienced, presented, conferred, responded to and understood within the context of youth culture, popular music and social change in the period between World War Two and the advent of AIDS. The essays locate sex, music and youth culture in the context of post-war Britain: with a widening and ever-more prevalent media; amidst the loosening bonds of censorship; in a society shaped by changing patterns of consumption and the emergence of the 'teenager'; existing, as Jeff Nuttall famously argued, under the shadow of the (nuclear) bomb.
Pink Floyd
Pioneers of what was once dubbed 'progressive rock' with their extended songs, technical experimentation, challenging lyrics, and spectacular stage presentations, Pink Floyd have been hailed as one of the most influential bands in the last half century of popular music. And unlike most bands of the progressive persuasion, the group has endured in the public consciousness, via a string of iconic recordings now regarded as timeless classics. Formed in 1965, the four-piece of Syd Barrett, Roger Waters, Rick Wright and Nick Mason fused English pastoral whimsy with electrifying instrumental voyages. Their gigs at underground clubs, such as UFO and Middle Earth, are the stuff of psychedelic legend. But Barrett's days were numbered, and in 1968 his drug dependency led to his replacement by guitarist David Gilmour, cementing the line-up that would persist through most of the band's career. Fully illustrated throughout, Pink Floyd: Behind The Music is a history of a band molded by the vision of its various members. Its legacy lies in the group's recorded work, with their albums - as related in these pages - marking key milestones in their history; each representing something genuinely unique and expanding the landscape of rock music forever.
Cultural Technologies
Cultural Technologies: Robots and Artificial Intelligence in the Performing Arts presents a diverse range of perspectives from leading scholars and artists on contemporary performing arts practices that engage with robotic and AI (artificial intelligence) technologies.
Rudolph Ganz, Patriotism, and Standardization of The Star-Spangled Banner, 1907-1958
This book examines the succession of events towards the potential standardization of the music for "The Star-Spangled Banner" from an initial letter to President Roosevelt in 1907 to the 1958 congressional hearings on the National Anthem, and the later work of the Swiss-Born American pianist, Rudolph Ganz.
Best 63 Songs - Sonu Nigam - Kumar Sanu - Udit Narayan (Ver 1.0) - (Saregama) Format
Reading Texts in Music and Literature of the Long Nineteenth Century
This collection offers students a practical guide to understanding the ways music and literature intersect and the influence of each on the other, as well as developing methods of study. This is the first coursebook to help students explore the many types of relationship that exist between music and literature when studied in historical or aesthetic contexts. It fosters interdisciplinary study among students in these subject areas and helps to break down the barrier of music as seeming "impenetrable" to students outside musicology. Chapters each discuss music/text relationships via an important social, aesthetic or cultural theme that maps onto key preoccupations of the long nineteenth century. Each chapter presents a case-study text first, followed by a short summary that sets out the challenges of approach and interpretation involved. A section on background then places the featured case-study in historical or aesthetic context, leading to a detailed discussion. The book offers a learning experience combining the methodological in music/text relationships with the substantive or thematic. Contributors: Charlotte Bentley, Philip Burnett, Alisa Clapp-Itnyre, Elicia Clements, Jeremy Coleman, Sarah Collins, Katharine Ellis, Daniel M. Grimley, Elizabeth Helsinger, Fraser Riddell, Emma Sutton, Shafquat Towheed, Phyllis Weliver, Christopher Wiley
Reading Texts in Music and Literature of the Long Nineteenth Century
This collection offers students a practical guide to understanding the ways music and literature intersect and the influence of each on the other, as well as developing methods of study. This is the first coursebook to help students explore the many types of relationship that exist between music and literature when studied in historical or aesthetic contexts. It fosters interdisciplinary study among students in these subject areas and helps to break down the barrier of music as seeming "impenetrable" to students outside musicology. Chapters each discuss music/text relationships via an important social, aesthetic or cultural theme that maps onto key preoccupations of the long nineteenth century. Each chapter presents a case-study text first, followed by a short summary that sets out the challenges of approach and interpretation involved. A section on background then places the featured case-study in historical or aesthetic context, leading to a detailed discussion. The book offers a learning experience combining the methodological in music/text relationships with the substantive or thematic. Contributors: Charlotte Bentley, Philip Burnett, Alisa Clapp-Itnyre, Elicia Clements, Jeremy Coleman, Sarah Collins, Katharine Ellis, Daniel M. Grimley, Elizabeth Helsinger, Fraser Riddell, Emma Sutton, Shafquat Towheed, Phyllis Weliver, Christopher Wiley
The Orchestra of the Cappella Reale, Naples, 1750-1800
The most prestigious musical ensemble of early-modern Naples remained the Royal Chapel or Cappella Reale di Palazzo. Conceived to serve directly the ruling authority of the capital city - whether the viceroy (Spanish or Austrian) or monarchs (Carlo di Borbone then Ferdinando) - membership in this elite organization offered prestige, financial security, and access to the broader networks of music culture in Naples, attracting the best musicians within and beyond the physical confines of the capital. This Element introduces readers to the largely unknown history of the Neapolitan Cappella Reale in the second half of the eighteenth century. It is based on primary sources, reconstructing the entire personnel of the ensemble (1750-99), recovering previously unstudied contractual agreements, offering details about the musicians while also examining the original music of the principal musicians of the orchestra.
