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| Author | : Derek B. Scott |
| Publisher | : OUP USA |
| Total Pages | : 313 |
| Release | : 2008-07-31 |
| Genre | : History |
| ISBN | : 0195309464 |
In 'Sounds of the Metropolis', Derek Scott argues that it was in the 19th century that the first popular music revolution occurred. He illustrates how a distinct group of popular styles first began to challenge the classical tradition and assert their own values and independence.
| Author | : Derek B. Scott |
| Publisher | : Oxford University Press |
| Total Pages | : 320 |
| Release | : 2008-07-31 |
| Genre | : Music |
| ISBN | : 0190294892 |
The phrase "popular music revolution" may instantly bring to mind such twentieth-century musical movements as jazz and rock 'n' roll. In Sounds of the Metropolis, however, Derek Scott argues that the first popular music revolution actually occurred in the nineteenth century, illustrating how a distinct group of popular styles first began to assert their independence and values. He explains the popular music revolution as driven by social changes and the incorporation of music into a system of capitalist enterprise, which ultimately resulted in a polarization between musical entertainment (or "commercial" music) and "serious" art. He focuses on the key genres and styles that precipitated musical change at that time, and that continued to have an impact upon popular music in the next century. By the end of the nineteenth century, popular music could no longer be viewed as watered down or more easily assimilated art music; it had its own characteristic techniques, forms, and devices. As Scott shows, "popular" refers here, for the first time, not only to the music's reception, but also to the presence of these specific features of style. The shift in meaning of "popular" provided critics with tools to condemn music that bore the signs of the popular-which they regarded as fashionable and facile, rather than progressive and serious. A fresh and persuasive consideration of the genesis of popular music on its own terms, Sounds of the Metropolis breaks new ground in the study of music, cultural sociology, and history.
| Author | : Michael Thomas Bass |
| Publisher | : |
| Total Pages | : 136 |
| Release | : 1864 |
| Genre | : Italians |
| ISBN | : |
| Author | : Derek Vaillant |
| Publisher | : UNC Press Books |
| Total Pages | : 420 |
| Release | : 2003 |
| Genre | : History |
| ISBN | : 9780807854815 |
Argues that music is an instrument of identity for ethnic groups and describes how music was used in Chicago to promote civic engagement and educate the community.
| Author | : Anthony Sutcliffe |
| Publisher | : University of Chicago Press |
| Total Pages | : 494 |
| Release | : 1984-02 |
| Genre | : History |
| ISBN | : 9780226780252 |
An ideal and welcome reference and reader for students of urbanism, Metropolis 1890-1940 examines perceptions of the city during the dramatic urban growth of this period. Metropolis looks at the policies adopted to deal with the new city and at the views of the city expressed in the art, architecture, literature, cinema, music, and ideology of the time. Internationally known experts discuss case studies of London, Paris, Berlin, the Ruhr, New York, Moscow, and Tokyo, and a postscript brings the reader up to date with a survey of postwar urbanism.
| Author | : Nicholas Attfield |
| Publisher | : Routledge |
| Total Pages | : 312 |
| Release | : 2016-04-30 |
| Genre | : Music |
| ISBN | : 1317091655 |
In his 1985 book The Idea of Music: Schoenberg and Others, Peter Franklin set out a challenge for musicology: namely, how best to talk and write about the music of modern European culture that fell outside of the modernist mainstream typified by Schoenberg, Berg, and Webern? Thirty years on, this collected volume of essays by Franklin’s students and colleagues returns to that challenge and the vibrant intellectual field that has since developed. Moving freely between insights into opera, Volksoper, film, festival, and choral movement, and from the very earliest years of the twentieth century up to the 1980s, its authors listen with a ‘critical ear’: they site these musical phenomena within a wider web of modern cultural practices - a perspective, in turn, that enables them to exercise a disciplinary self-awareness after Franklin’s manner.
| Author | : Hristomir A. Stanev |
| Publisher | : Routledge |
| Total Pages | : 224 |
| Release | : 2016-04-01 |
| Genre | : Literary Criticism |
| ISBN | : 1317057163 |
At the turn of the seventeenth century, Hristomir Stanev argues, ideas about the senses became part of a dramatic and literary tradition in England, concerned with the impact of metropolitan culture. Drawing upon an archive of early modern dramatic and prose writings, and on recent interdisciplinary studies of sensory perception, Stanev here investigates representations of the five senses in Jacobean plays in relationship to metropolitan environments. He traces the significance of under-examined concerns about urban life that emerge in micro-histories of performance and engage the (in)voluntary and sometimes pre-rational participation of the five senses. With a dominant focus on sensation, he argues further for drama’s particular place in expanding the field of social perception around otherwise less tractable urban phenomena, such as suburban formation, environmental and noise pollution, epidemic disease, and the impact of built-in city space. The study focuses on ideas about the senses on stage but also, to the extent possible, explores surviving accounts of the sensory nature of playhouses. The chapters progress from the lower order of the senses (taste and smell) to the higher (hearing and vision) before considering the anomalous sense of touch in Platonic terms. The plays considered include five city comedies, a romance, and two historical tragedies; playwrights whose work is covered include Shakespeare, Jonson, Webster, Fletcher, Dekker, and Middleton. Ultimately, Stanev highlights the instrumental role of sensory flux and instability in recognizing the uneasy manner in which the London writers, and perhaps many of their contemporaries, approached the rapidly evolving metropolitan environment during the reign of King James I.
| Author | : Iain Boyd Whyte |
| Publisher | : Univ of California Press |
| Total Pages | : 658 |
| Release | : 2012-11-27 |
| Genre | : History |
| ISBN | : 0520270371 |
“Metropolis Berlin evokes a kaleidoscopic panorama of impressions, opinions, and utopian hopes that constituted Berlin from the end of Imperial Germany to the rise of National Socialism. Iain Boyd Whyte and the late David Frisby invite the reader to be a flâneur in a truly great city, to marvel at the vitality of its urban spaces, and to listen to the cacophony of its voices and sounds. This extraordinary anthology of hundreds of documents tells the story of metropolitan Berlin by letting its inhabitants, visitors, and critics speak. A must have for every personal bookshelf and library.”—Volker M. Welter, Professor for Architectural History, University of California at Santa Barbara "Metropolis Berlinis not merely a magnificent compendium of sources, but is also an exciting work of scholarship in its own right. It presents this global city, in all its architectural, urbanistic, and discursive richness and complexity, like no other volume before it."—Frederic J. Schwartz, author of Blind Spots: Critical Theory and the History of Art in Twentieth-Century Germany.
| Author | : Jonathyne Briggs |
| Publisher | : Oxford University Press |
| Total Pages | : 248 |
| Release | : 2015-03-02 |
| Genre | : Music |
| ISBN | : 0190266643 |
Sounds French examines the history of popular music in France between the arrival of rock and roll in 1958 and the collapse of the first wave of punk in 1980, and the connections between musical genres and concepts of community in French society. During this period, scholars have tended to view the social upheavals associated with postwar reconstruction as part of debates concerning national identity in French culture and politics, a tendency that developed from political figures' and intellectuals' concerns with French national identity. In this book, author Jonathyne Briggs reorients the scholarship away from an exclusive focus on national identity and instead towards an investigation of other identities that develop as a result of the increased globalization of culture. Popular music, at once individual and communal, fixed and plastic, offers an illuminating window into such transformations in social structures through the ways in which musicians, musical consumers, and critical intermediaries re-imagined themselves as part of novel cultural communities, whether local, national, or supranational in nature. Briggs argues that national identity was but one of a panoply of identities in flux during the postwar period in France, demonstrating that the development of hybridized forms of popular music provided the French with a method for expressing and understanding that flux. Drawing upon an array of printed and aural sources, including music publications, sound recordings, record sleeves, biographies, and cultural criticism, Sounds French is an essential new look at popular music in postwar France.
| Author | : Sarah Nuttall |
| Publisher | : Duke University Press |
| Total Pages | : 408 |
| Release | : 2008-10-24 |
| Genre | : Social Science |
| ISBN | : 0822381214 |
Johannesburg: The Elusive Metropolis is a pioneering effort to insert South Africa’s largest city into urban theory, on its own terms. Johannesburg is Africa’s premier metropolis. Yet theories of urbanization have cast it as an emblem of irresolvable crisis, the spatial embodiment of unequal economic relations and segregationist policies, and a city that responds to but does not contribute to modernity on the global scale. Complicating and contesting such characterizations, the contributors to this collection reassess classic theories of metropolitan modernity as they explore the experience of “city-ness” and urban life in post-apartheid South Africa. They portray Johannesburg as a polycentric and international city with a hybrid history that continually permeates the present. Turning its back on rigid rationalities of planning and racial separation, Johannesburg has become a place of intermingling and improvisation, a city that is fast developing its own brand of cosmopolitan culture. The volume’s essays include an investigation of representation and self-stylization in the city, an ethnographic examination of friction zones and practices of social reproduction in inner-city Johannesburg, and a discussion of the economic and literary relationship between Johannesburg and Maputo, Mozambique’s capital. One contributor considers how Johannesburg’s cosmopolitan sociability enabled the anticolonial projects of Mohandas Ghandi and Nelson Mandela. Journalists, artists, architects, writers, and scholars bring contemporary Johannesburg to life in ten short pieces, including reflections on music and megamalls, nightlife, built spaces, and life for foreigners in the city. Contributors: Arjun Appadurai, Carol A. Breckenridge, Lindsay Bremner, David Bunn, Fred de Vries, Nsizwa Dlamini, Mark Gevisser, Stefan Helgesson, Julia Hornberger, Jonathan Hyslop, Grace Khunou, Frédéric Le Marcis, Xavier Livermon, John Matshikiza, Achille Mbembe, Robert Muponde, Sarah Nuttall, Tom Odhiambo, Achal Prabhala, AbdouMaliq Simone
