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Journal articles on the topic 'Blues (Music) – History and criticism'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Vrana, Laura. "Leyla McCalla’s Tributes to Langston Hughes." Langston Hughes Review 29, no. 1 (2023): 29–50. http://dx.doi.org/10.5325/langhughrevi.29.1.0029.

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ABSTRACT Classically trained Black musician Leyla McCalla’s album Vari-Colored Songs: A Tribute to Langston Hughes (2014) intertwines innovative folk- and blues-inspired settings of Hughes’s blues poetry, interpretations of traditional Haitian folk songs, and original compositions. This article argues that the album constitutes both a vital homage to Hughes’s impact on Black diasporic culture and a feminist boundary-breaking reshaping of the expectations of the hegemonic, white-washing contemporary music industry. It reads together the album’s ambitious liner notes, accompanying visual element

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2

Zamotin, M. P. "Blues as a Symbolic Resistance and Representation of Countercultural Groups in the United States in the late 19 – early 20 centuries." Discourse 8, no. 1 (2022): 105–22. http://dx.doi.org/10.32603/2412-8562-2022-8-1-105-122.

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Introduction. This article examines the blues music tradition from the perspective of the use of symbolic representations by the creators of this form of culture, which formed a unique “hidden transcripts” transmitted by certain socio-cultural groups that lived and worked in a certain historical era. Since the blues tradition in the United States originates in black communities, in terms of the self-representation of representatives of this groups to the dominant culture, we can talk abut the music of this socio-cultural period of American history as an instrument for conveying “hidden transcr

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3

SMITH, AYANA. "Blues, criticism, and the signifying trickster." Popular Music 24, no. 2 (2005): 179–91. http://dx.doi.org/10.1017/s0261143005000449.

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Scholars in the field of literary theory have defined clearly the role of signifying in African-American literature. This article identifies one aspect of the signifying tradition and its influence on the early blues tradition. Since the Signifying Monkey is the ultimate trickster in the African-American narrative tradition, this article presents evidence for considering the blues singer as a trickster figure at several different levels. First, the singer identifies with the trickster's character traits through pseudo-autobiographical content in song narratives, particularly in expressing soci

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Sharma, Min Prasad, and Parthivendra Upadhyaya. "A Study of Sociological Issues in "Sonny's Blues"." Bhairahawa Campus Journal 6, no. 1-2 (2023): 73–82. http://dx.doi.org/10.3126/bhairahawacj.v6i1-2.65174.

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This research paper examines the sociological aspects and impact of blues in James Baldwin's "Sonny's Blues." Utilizing a sociological criticism approach, the study analyzes the dynamics of blues in the story and explores the dystopian environment of Harlem, highlighting the suffering experienced by Sonny and other black youths. The theoretical perspective applied emphasizes the relationship between the author and the text, contextualizing it within the social and cultural milieu. Through a close examination of the narrative, the paper reveals the role of blues as a means of expression and res

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5

Buffa, Alessandro. "Inner City Blues." Review of International American Studies 12, no. 2 (2019): 129–40. http://dx.doi.org/10.31261/rias.7369.

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In this article, I would like to propose an alternative and long view of “1968” which is grounded in black liberation movements, Afrodiasporic cultures, neighborhood-based organizations and sustained and propagated by music and sound. Venturing into this alternative history, I consider the Bronx, Harlem, and Naples, Italy as networks of resistance and nodal junctures for the transmission of Afrodiasporic cultures of opposition. Connecting the mutual influence of global social movements, music and neighborhood-based organizations, my article is also an invitation to start thinking about history

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6

Mueller, Charles. "Baudrillard's Blues." Popular Music 35, no. 1 (2015): 84–99. http://dx.doi.org/10.1017/s0261143015000823.

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AbstractIn his book, America, Jean Baudrillard characterised the United States as a nation created for the sole purpose of escaping history, a place that has purged itself of all negativity, and whose citizens live life in a perpetual present. Baudrillard's study of America provides an ideal framework with which to examine the ways that blues is both congenial and antithetical to postmodern America, and how the significations and meanings of blues have changed as the music has passed from modernity to postmodernity. Of particular interest is the question of whether African-American interpretat

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Munshower, Alan, and Greg Johnson. "Fannish boy: Examining blues fandom through British music periodicals." Journal of Fandom Studies 9, no. 1 (2021): 75–88. http://dx.doi.org/10.1386/jfs_00033_1.

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Before online forums and social media groups allowed spaces for blues fans to share their love of the music, newsletters and periodicals created by blues societies and fans provided outlets for blues aficionados to connect with other fans, discographers, musicians and scholars through performance and album reviews, pilgrimage storytelling, descriptions of recent discoveries of rare sound recordings and much more. The University of Mississippi Blues Archive holds a large collection of blues periodicals, covering over 1000 unique titles, from over 25 countries, with a bulk date of 1963 to the pr

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8

Botstein, Leon. "On Criticism and History." Musical Quarterly 79, no. 1 (1995): 1–5. http://dx.doi.org/10.1093/mq/79.1.1.

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9

BRACKETT, DAVID. "Improvisation and Value in Rock, 1966." Journal of the Society for American Music 14, no. 2 (2020): 197–232. http://dx.doi.org/10.1017/s1752196320000073.

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AbstractThe mid-1960s has figured as a central period in the historiography of popular music, but the role of improvisation has been little discussed. This article argues that issues of improvisation and value are crucial to understanding the emergence of a high-low split within popular music, a division that figures prominently in criticism and fan discourse up to the present day. This new stratification within popular music made it possible for rock to acquire critical prestige relative to other popular music genres. The formation of rock also relied on its association with a primarily white

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10

Sigdel, Chandrika. "The Song of Suffering, Reconciliation and Redemption: A New Critical Reading of “Sonny’s Blues”." Mindscape: A Journal of English & Cultural Studies 2, no. 1 (2023): 45–52. http://dx.doi.org/10.3126/mjecs.v2i1.61679.

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This research paper examines the story “Sonny’s Blues” by James Baldwin that depicts the everlasting sorrows and sufferings of two black brothers residing in Harlem, New York. The omnipresent suffering is caused primarily by their African-American identity that leads toward the split between the brothers and ultimately fuels the intra-racial conflict in the black community as a whole. In addition, amid the never-ending troubles and deeper wounds of the black brothers, jazz music, i.e., Sonny’s blues is offered as a soother and a healer that erases their pains and sufferings, and as a thread th

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11

ALLEN, DAVE. "Feelin' bad this morning: why the British blues?" Popular Music 26, no. 1 (2006): 141–56. http://dx.doi.org/10.1017/s0261143007001183.

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This paper considers the Mike Figgis film Red, White & Blues as a history of blues music in Britain. The film was produced as part of a series celebrating the centenary of the blues, and not unnaturally its British focus begins with the 1950s and 1960s. The paper argues, however, that it is an incomplete history because it fails to consider how the British blues genre and scene developed subsequently. It also argues that the film focuses too much on the memories and performances of the musicians. It fails to consider the industrial context in which any ‘new’ genre can emerge, and pays almo

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12

Smith, Steven G. "Blues and our mind-body problem." Popular Music 11, no. 1 (1992): 41–52. http://dx.doi.org/10.1017/s0261143000004839.

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Blues music is relatively well recognised as a cultural phenomenon. In tracing its history, both as a reflection of one people's particular circumstances of oppression and as an ingredient taken into mainstream popular art, we accumulate reasons for thinking of it as important. But these are external reasons. It is possible to know that one's everyday milieu is heavily indebted to blues (in manners as well as in music), even to feel blues quality strongly, and yet not be able to articulate an understanding of the import of blues. In that case one is kept from thinking well about how the meanin

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13

Migliaccio, John. "THE BLUES AND OLDER MINORITY MUSICIANS: MORE THAN JUST MUSIC XXIX." Innovation in Aging 6, Supplement_1 (2022): 404. http://dx.doi.org/10.1093/geroni/igac059.1591.

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Abstract The Blues and Older Minority Musicians: More Than Just Music XXIXThe “ ’Bo Diddley’ Track”; GSA, 2022 Indianapolis, INLecture/Interview/ Performance: TBAIndianapolis has been described as “The Crossroads of America,” with a long history of fostering the music and entrepreneurial spirit of Black Americans. Starting in 1915 with Mrs. C.J. Walker, America’s first female millionaire and her cosmetic enterprise, and the Starr Piano Company and its Gennett Records studio – identified as “The Cradle of Recorded Jazz” in the 1920s and 30s – both were instrumental in national distribution of t

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Migliaccio, John, and Michael Marcus. "THE BLUES AND OLDER MINORITY MUSICIANS: MORE THAN JUST MUSIC XXIX." Innovation in Aging 6, Supplement_1 (2022): 404. http://dx.doi.org/10.1093/geroni/igac059.1590.

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Abstract The “ ’Bo Diddley’ Track”; GSA, 2022 Indianapolis, INLIndianapolis has been described as “The Crossroads of America,” with a long history of fostering the music and entrepreneurial spirit of Black Americans. Starting in 1915 with Mrs. C.J. Walker, America’s first female millionaire and her cosmetic enterprise, and the Starr Piano Company and its Gennett Records Studio – identified as “The Cradle of Recorded Jazz” in the 1920s and 30s – both were instrumental in national distribution of the works of the earliest blues, jazz, country, and gospel artists including Louis Armstrong, King O

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15

Street, Joe. "Transatlantic roots music: folk, blues, and national identities." Journal of Transatlantic Studies 11, no. 4 (2013): 431–32. http://dx.doi.org/10.1080/14794012.2013.843905.

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16

Kay, Roy. "Minneapolis, Prince, and the Minneapolis Sound." boundary 2 49, no. 2 (2022): 213–41. http://dx.doi.org/10.1215/01903659-9644576.

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Abstract Prince was an artist who challenged many conventional notions of race, sexuality, and music. His music, characterized as the Minneapolis Sound, is a continuation and extension of America's indigenous music, the blues. This article is an explanation of the designation “Minneapolis Sound.” The first part establishes the Minneapolis milieu, specifically that of the black neighborhoods, and how it formed Prince and his cohort, such as James “Jimmy Jam” Harris Jr., Terry Lewis, André Cymone, Morris Day, and others. The second part is a close analysis of Prince's music and its sonic effects

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Migliaccio, John. "THE BLUES AND OLDER MINORITY MUSICIANS: MORE THAN JUST MUSIC XXX." Innovation in Aging 7, Supplement_1 (2023): 533. http://dx.doi.org/10.1093/geroni/igad104.1749.

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Abstract That’s right! This GSA Annual Scientific Meeting celebrates 30 years of the ever popular “‘Bo Diddley’ Track” providing insights into the older performers who have pioneered and preserved this uniquely American musical genre and distinctive cultural treasure. Tampa was, and remains, a significant location in its history. When Hudson Woodbridge (Whittaker), a.k.a. “Tampa Red”, had learned all he could of the popular “race records” featuring legendary blues performers like Ma Rainey, Bessie Smith, and Ida Cox and moved to Chicago in 1925 in his early 20s, he brought with him a prolific

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18

Botstein, L. "Witnessing Music: The Consequences of History and Criticism." Musical Quarterly 94, no. 1-2 (2011): 1–8. http://dx.doi.org/10.1093/musqtl/gdr001.

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19

Radice, Mark A. "Reader's Guide to Music: History, Theory, Criticism (review)." Notes 58, no. 1 (2001): 66. http://dx.doi.org/10.1353/not.2001.0165.

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20

Vojvodić Nikolić, Dina D. "PREDLOG ODREĐENjA POJMA MUZIČKA KRITIKA I TIPOLOGIJE KRITIČKIH TEKSTOVA MEĐURATNOG DOBA U SRBIJI." Nasledje Kragujevac XX, no. 55 (2023): 299–312. http://dx.doi.org/10.46793/naskg2355.299vn.

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The paper presents a proposal for defining the concept of music criticism and types of critical texts. The historical development of music criticism, its problems, methods, goals and main representatives are presented. The history of music criticism is ideologically connected with music, and primarily appeared in occasional publications. Criticism of musicians began continuously in the middle of the 18th century, when the first open discussions on various issues of music appeared. Jean-Jacques Rousseau, Johann Mattheson and Charles Burney stand out among the first music critics. The last years

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21

Aschoff, Peter R., and Steven C. Tracy. "Going to Cincinnati: A History of the Blues in the Queen City." American Music 13, no. 4 (1995): 509. http://dx.doi.org/10.2307/3052412.

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22

Tukova, Iryna, Valentina Redya, and Iryna Kokhanyk. "Ukrainian Music Criticism of the 2010s: General Situation, Problems, Directions of Development (Based on the Examples From Contemporary Art Music Scene)." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (2022): 129–43. http://dx.doi.org/10.24193/subbmusica.2022.2.07.

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"The paper focuses on the 2010s in the history of Ukrainian music criticism. The materials on contemporary art music were chosen to support the authors’ reflections and conclusions. Selection of the time, period and material for the research are conditioned both with the specific social situation of Ukraine and with the recent developments in its music scene. The paper characterizes the main media, most popular critical genres, and methods of critical coverage. It is highlighted that the problems of Ukrainian music criticism during the 2010s were linked to the post-Soviet past and, in general,

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23

Cole, Ross. "Mastery and Masquerade in the Transatlantic Blues Revival." Journal of the Royal Musical Association 143, no. 1 (2018): 173–210. http://dx.doi.org/10.1080/02690403.2018.1434352.

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ABSTRACTFocusing on two influential broadcasts staged for British television in 1963–4, this article traces transatlantic attitudes towards blues music in order to explore the constitutive relationship between race, spectatorship and performativity. During these programmes, I claim, a form of mythic history is translated into racial nature. Ultimately, I argue that blues revivalism coerced African American musicians into assuming the mask of blackface minstrelsy – an active personification of difference driven by a lucrative fantasy on the terms of white demand. I ask why this imagery found su

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24

Tkweme, W. S. "Blues Music in the Sixties: A Story in Black and White." Journal of American History 97, no. 4 (2011): 1179–80. http://dx.doi.org/10.1093/jahist/jaq001.

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25

Gatchet, Roger Davis. "Murray Talks Music: Albert Murray on Jazz and Blues. By Paul Devlin." Oral History Review 45, no. 1 (2018): 158–60. http://dx.doi.org/10.1093/ohr/ohy009.

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26

Majer-Bobetko, Sanja. "Between music and ideologies: Croatian music criticism from the beginning to World War II." Muzyka 63, no. 4 (2018): 55–64. http://dx.doi.org/10.36744/m.344.

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As the Croatian lands were exposed to often aggressive Austrian, Hungarian, and Italian politics until WWI and in some regions even later, so Croatian music criticism was written in the Croatian, German and Italian languages. To the best of our knowledge, the history of Croatian music criticism began in 1826 in the literary and entertainment journal Luna, and was written by an anonymous author in the German language.A forum for Croatian language music criticism was opened in Novine Horvatzke, i.e. in its literary supplement Danica horvatska, slavonska i dalmatinska in 1835, which officially st

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27

Pearson, Barry Lee, and Austin Sonnier. "A Guide to the Blues: History, Who's Who, Research Sources." Ethnomusicology 40, no. 2 (1996): 346. http://dx.doi.org/10.2307/852073.

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kang, sun ha. "The Problems an Improvement Direction of High School Music Appreciation and Criticism Textbook." Korean Association For Learner-Centered Curriculum And Instruction 23, no. 17 (2023): 1–15. http://dx.doi.org/10.22251/jlcci.2023.23.17.1.

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Objectives This study examines the problems in the contents of high school textbook Music Appreciation and Criticism, and proposes improvement directions accordingly. Methods For this purpose, the 2015 revised textbook Music Appreciation and Criticism's unit composition, organization, and Gugak contents were analyzed. Results The problems of high school music appreciation and criticism education are, first, that Gugak is not universally covered in music. Second, the majority of music pieces overlapped with general Music textbooks, and third, the fact that th

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29

Li, Ang. "Historical Evolution of the Popularization of Classical Music and the Development of the Fusion of Multiple Musical Styles." Herança 7, no. 1 (2023): 113–25. http://dx.doi.org/10.52152/heranca.v7i1.810.

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The historical evolution of classical music and its fusion with different musical genres is an important phenomenon in the field of music. The aim of this thesis is to explore the historical evolution of the popularization of classical music and its fusion with a variety of musical genres. First, we define the characteristics of classical and popular music. Then, we examine the development of classical music in the history of popular music, including its relationship to blues, jazz, and American country music. Next, we summarize the history of the fusion of classical and popular music and anal

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30

Pritchard, Matthew. "The Cambridge History of Music Criticism. Ed. by Christopher Dingle." Music and Letters 101, no. 4 (2020): 785–88. http://dx.doi.org/10.1093/ml/gcaa068.

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31

Parakilas, James. "The Afterlife of Don Giovanni: Turning Production History into Criticism." Journal of Musicology 8, no. 2 (1990): 251–65. http://dx.doi.org/10.2307/763570.

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Parakilas, James. "The Afterlife of Don Giovanni: Turning Production History into Criticism." Journal of Musicology 8, no. 2 (1990): 251–65. http://dx.doi.org/10.1525/jm.1990.8.2.03a00040.

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33

McKay, George. "Skinny blues: Karen Carpenter, anorexia nervosa and popular music." Popular Music 37, no. 1 (2017): 1–21. http://dx.doi.org/10.1017/s026114301700054x.

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AbstractThis article discusses an extraordinary body in popular music, that belonging to the person with anorexia which is also usually a gendered body – female – and that of the singer or frontperson. I explore the relation between the anorexic body and popular music, which is more than simply looking at constructions of anorexia in pop. It involves contextually thinking about the (medical) history and the critical reception and representation, the place of anorexia across the creative industries more widely, and a particular moment when pop played a role in the public awareness of anorexia.

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Gray, Timothy. "Hip Americana: The Cultural Criticism of Greil Marcus." Prospects 27 (October 2002): 611–39. http://dx.doi.org/10.1017/s0361233300001356.

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In the summer of 1976, as many in our nation were getting ready to celebrate the bicentennial and listening to AM radio shlock like “Afternoon Delight,” I persuaded my father to buy me an oversized red paperback I had been perusing at the local mall. The book was theRolling Stone Illustrated History of Rock & Roll, a landmark collaboration edited by Jim Miller. Throughout my teenage years, I would pour over its many photographs, memorize its discography sections, and take instruction and courage from its lively, opinionated writing. Looking back at theIllustrated Historya quarter of a cent

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35

Leppert, Richard, and George Lipsitz. "‘Everybody's Lonesome for Somebody’: age, the body and experience in the music of Hank Williams." Popular Music 9, no. 3 (1990): 259–74. http://dx.doi.org/10.1017/s0261143000004086.

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Houston Baker locates the blues at the crossroads of lack and desire, at the place where the hurts of history encounter determined resistance from people who know they are entitled to something better (Baker 1984, pp. 7, 150). Like the blues singers from whom he learned so much, Hank Williams (1923 to 1953) spent a lot of time at that particular intersection. There he met others whose own struggles informed and shaped his music. Williams's voice expressed the contradictions of his historical moment – post Second World War America – a time when diverse currents of resistance to class, race and

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36

Beilharz, Peter. "Book Review: The History of the Blues: The Roots, the Music, the People." Thesis Eleven 79, no. 1 (2004): 140–42. http://dx.doi.org/10.1177/072551360407900116.

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Peretti, Burton W. ":Whose Blues? Facing Up to Race and the Future of the Music." Journal of African American History 108, no. 2 (2023): 329–31. http://dx.doi.org/10.1086/724066.

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38

Jones, Michael L. "Review Article: The Country Blues — Music and Identities in Different Americas." Journal of Contemporary History 43, no. 4 (2008): 711–21. http://dx.doi.org/10.1177/0022009408095426.

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Johnson, Bruce. "Deportation Blues <br> doi:10.5429/2079-3871(2010)v1i1.5en." IASPM Journal 1, no. 1 (2010): 1–13. http://dx.doi.org/10.5429/297.

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The history of popular music in the twentieth century has been regularly intersected by outbreaks of moral panic regarding the debilitating influence of particular genres, for which the association between 'blackness' and degradation has provide especially inflammable fuel. In Australia this has been intensified by virtue of a strain of racism and xenophobia, most recently manifested in the government's refusal of entry to Rapper Snoop Dogg in April 2007 after failing a 'character test'. One case from 1928 resulted in a generic quarantine that affected the development of popular music in Austr

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40

Cross, Rod. "Pop Music in the Middle School – Some Considerations and Suggestions." British Journal of Music Education 5, no. 3 (1988): 209–16. http://dx.doi.org/10.1017/s026505170000663x.

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Most young people these days enjoy listening to music. It may well be their main interest and one of their favourite pastimes. Some may express a preference for classical music, others for minority interests, such as folk, country, blues, jazz, or big band. For the vast majority, however, it is likely that their taste will be partly, if not exclusively, for pop, i.e. that brand of music which originated with Bill Haley'1956 recording of ‘Rock Around The Clock’, and which now applies to all music loosely associated with the Top Forty charts. In this article the author describes a course, with 1

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White, Matthew B. ""The Blues Ain't Nothin' But a Woman Want to be a Man": Male Control in Early Twentieth Century Blues Music." Canadian Review of American Studies 24, no. 1 (1994): 19–40. http://dx.doi.org/10.3138/cras-024-01-02.

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Chaudhuri. "Indus Blues: A Short Collection of Impressions on an Ethnographic Documentary." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 9 (July 26, 2022): 109–12. http://dx.doi.org/10.30819/aemr.9-9.

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This is a spontaneous review discussion about the ethnographic film ‘Indus Blues’, produced by Jawad Sharif in 2018 and it has won many awards on several occasions. Nine reviewing persons were asked to write some lines about their first impressions, which were then discussed and summarized. The review discussion mainly contains the data provided.

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Wells, R. V. "Reds, Whites, and Blues: Social Movements, Folk Music, and Race in the United States." Journal of American History 98, no. 1 (2011): 264–65. http://dx.doi.org/10.1093/jahist/jar105.

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Kramer, Elizabeth. "The Beethoven Violin Sonatas: History, Criticism, Performance (review)." Notes 62, no. 1 (2005): 114–16. http://dx.doi.org/10.1353/not.2005.0098.

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Reith, Louis J., and Roger Kuin. "Chamber Music: Elizabethan Sonnet-Sequences and the Pleasure of Criticism." Sixteenth Century Journal 32, no. 1 (2001): 305. http://dx.doi.org/10.2307/2671499.

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Laing, Dave. "A voice without a face: popular music and the phonograph in the 1890s." Popular Music 10, no. 1 (1991): 1–9. http://dx.doi.org/10.1017/s026114300000427x.

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While the rock'n'roll era, dance bands, country and the blues have been the subject of detailed and analytical histories, the 1890s, those formative years of music-recording, still await adequate and rigorous scrutiny. The standard (and only) history of the recording process remains Roland Gelatt's The Fabulous Phonograph, whose first edition appeared in 1955. But while Gelatt's foreword promisingly notes that ‘the history of the phonograph is at once the history of an invention, an industry and a musical instrument’, his book seldom rises above a journalistic narrative. It is also marred by a

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47

Dickinson, Peter. "Review: Maestros of the Pen: A History of Classical Music Criticism in America." Music and Letters 83, no. 4 (2002): 631–34. http://dx.doi.org/10.1093/ml/83.4.631.

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Miller, Keith D., and Michael W. Harris. "The Rise of Gospel Blues: The Music of Thomas Andrew Dorsey in the Urban Church." Journal of American History 80, no. 1 (1993): 319. http://dx.doi.org/10.2307/2079816.

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Napolin, Julie Beth. "Between Sound and Image." Film Quarterly 76, no. 3 (2023): 48–54. http://dx.doi.org/10.1525/fq.2023.76.3.48.

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In 1929, the “Empress of the Blues” Bessie Smith made her only known film appearance in a short, two-reel film by Dudley Murphy, St. Louis Blues, titled after the W.C. Handy song that Smith had made famous. One prefiguration of the music video medium, it was the first film to be made to a preexisting song. Sixty years later, the song moves into a third instantiation when Isaac Julien returns to a fragment of Smith’s film performance in his dreamy Looking for Langston. It situates Smith in the context of Black queer literary voicings and media history more generally, thus assuring a primary pla

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Harrán, Don. "Elegance as a Concept in Sixteenth-Century Music Criticism*." Renaissance Quarterly 41, no. 3 (1988): 413–38. http://dx.doi.org/10.2307/2861755.

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”… et vere sciunt cantilenas ornare, in ipsis omnes omnium affectus exprimere, et quod in Musico summum est, et elegantissimum vident … “Adrian Coclico, Compendium musices (1552)The notion of music as a form of speech is a commonplace. Without arguing the difficult questions whether music is patterned after speech or itself constitutes its own language, it should be remembered that the main vocabulary for describing the structure and content of music has been drawn from the artes dicendi. The present report deals with a small, but significant part of this vocabulary: the term elegance along wi

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