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Journal articles on the topic 'Cabaret songs'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Ruttkowski, Wolfgang. "Cabaret Songs." Popular Music and Society 25, no. 3-4 (2001): 45–71. http://dx.doi.org/10.1080/03007760108591799.

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2

Remshardt, Ralf. "Four Cabaret Songs by Frank Wedekind." Delos: A Journal of Translation and World Literature 35, no. 1 (2020): 25–33. http://dx.doi.org/10.5744/delos.2020.1003.

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3

Ferran, P. W. "The Threepenny Songs: Cabaret and the Lyrical Gestus." Theater 30, no. 3 (2000): 5–21. http://dx.doi.org/10.1215/01610775-30-3-5.

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4

Lareau, Alan. "Lavender Songs: Undermining Gender in Weimar Cabaret and Beyond." Popular Music and Society 28, no. 1 (2005): 15–33. http://dx.doi.org/10.1080/0300776042000300954.

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5

Kwan, SanSan. "Performing a Geography of Asian America: The Chop Suey Circuit." TDR/The Drama Review 55, no. 1 (2011): 120–36. http://dx.doi.org/10.1162/dram_a_00052.

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The Chop Suey Circuit describes Asian American cabaret performers who toured the US from the 1930s through the '50s. Performing the era's popular songs and dances, these “Orientals” were novel yet familiar, exotic yet accessible. At a time of war, internment, and segregation they simultaneously solidified and challenged racial cartographies that would emplace race.

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6

Robb, David. "Narrative Role-Play in Twentieth-Century German Cabaret and Political ‘Song Theatre’." New Theatre Quarterly 26, no. 1 (2010): 25–37. http://dx.doi.org/10.1017/s0266464x10000035.

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One of the most creative communicative strategies of German twentieth-century political song has been narrative role-play. From the songs of Kurt Tucholsky and Walter Mehring in Weimar cabaret during the 1920s to the dramatic monologues of Franz Josef Degenhardt in the 1960s and beyond, singers have assumed identifiable roles to parody the language, mannerisms, and characteristics of known establishment social types. Role play has also been evident in the narrative identities constructed by singers and performers, either by means of literary association or by association with certain political

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7

Sherzer, Dina, and Laurence Senelick. "Cabaret Performance. Volume I: Europe 1890-1920. Sketches, Songs, Monologues, Memoirs." Theatre Journal 43, no. 3 (1991): 413. http://dx.doi.org/10.2307/3207610.

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8

Bell, John, and Laurence Senelick. "Cabaret Performance, Volume II: Europe 1920-1940 Sketches, Songs, Monologues, Memoirs." Theatre Journal 45, no. 4 (1993): 564. http://dx.doi.org/10.2307/3209033.

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9

Imans, Logan. ""Up Close and Intimate": Catharsis, the Dark Side of Sexuality, and The Dresden Dolls." Nota Bene: Canadian Undergraduate Journal of Musicology 13, no. 1 (2020): 1–24. http://dx.doi.org/10.5206/notabene.v13i1.8559.

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The Dresden Dolls are a punk-cabaret band that use their music to delve into diverse and taboo subject matter including sexual assault, abortion, and trauma. Despite the morose and grotesque imagery invoked by their lyrics, this paper advocates for the therapeutic effects of catharsis as encouraged by The Dresden Dolls. This essay provides an overview of the applications of catharsis in the arts and psychotherapy, explores how the musical elements and performance contexts of punk-cabaret elicit catharsis, and develops a contemporary theory of catharsis as it pertains to the music of The Dresde

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10

Albright, Daniel. "Postmodern Interpretations of Satie's Parade." Canadian University Music Review 22, no. 1 (2013): 22–39. http://dx.doi.org/10.7202/1014497ar.

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If postmodernism can be considered ahistorically, as a stylistic category operative at any time and in any place, then there are many older works that suddenly seem to speak strongly to our present age. This paper argues the case for taking Erik Satie as a postmodernist: his music is marked by bricolage (the E-driophthalma movement from Embryons desséchés, 1913, borrows a theme, according to the score, "from a celebrated mazurka by Schubert"); by polystylism (the cabaret songs written for Vincent Hyspa, or Parade with its quotation from Irving Berlin); and by materialism of the signifier (what

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11

Sloan, Nate. "Constructing Cab Calloway." Journal of Musicology 36, no. 3 (2019): 370–400. http://dx.doi.org/10.1525/jm.2019.36.3.370.

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Cab Calloway was of the most popular jazz musicians of the 1930s and 1940s whose legacy today is complicated by his repertoire of novelty songs with references to minstrelsy, his residency at a segregated Harlem cabaret, the Cotton Club, and his marketing to white audiences by manager Irving Mills. Calloway’s sound and persona—commercial, racialized, theatrical—did not square with an emergent art discourse around jazz during the 1930s. Hit songs like “Minnie the Moocher” (1931), with its dark, minor sound world, exaggerated depictions of seedy Harlem nightlife, and cultivated use of local slan

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12

Kordovska, P. A. "Italian singer Daisy Lumini as an interpreter of the post-avant-garde music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 253–66. http://dx.doi.org/10.34064/khnum1-56.16.

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Introduction. In the music of the late twentieth century the realization of the creative potential of performers is rarely limited with the framework of direction which was chosen in the beginning of career. The field of the academic music may be too narrow for the artist, but this does not mean a definitive departure from this area. The life and performances of Italian singer, actress and composer Daisy Lumini (1936–1993) could be considered as one of the examples of the twentieth century “variability” of the artist’s way. She developed from a graduate of the Conservatory to a pop star and a

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13

Orledge, Robert. "The Musical Activities of Alfred Satie and Eugénie Satie-Barnetche, and Their Effect on the Career of Erik Satie." Journal of the Royal Musical Association 117, no. 2 (1992): 270–97. http://dx.doi.org/10.1093/jrma/117.2.270.

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Erik Satie is now thought of as a precursor and a man of ideas whose unconventional career took its direction from his continual rethinking of every aspect of contemporary music and aesthetics, largely as a reaction to nineteenth-century tradition and excesses. Eugénie Satie-Barnetche, whose ultimate aim for her stepson was a brilliant career as a pianist with an official seal of approval from the Paris Conservatoire, provided just one example of such a tradition, whilst her husband Alfred, the gifted and impulsive dilettante and a Romantic at heart, might well be seen as another. In fact, it

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14

Senelick, Laurence. "Émigré Cabaret and the Re-invention of Russia." New Theatre Quarterly 35, no. 1 (2019): 44–59. http://dx.doi.org/10.1017/s0266464x1800060x.

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Before the October Revolution, political exiles and Jewish refugees spread the image of Russia as a vast prison, riven by violence and corruption. After the Revolution, émigrés who scattered across the globe broadcast their idea of a fabulous, high-spirited Russia. Cabaret – an arena for theatrical innovation, stylistic experimentation, and avant-garde audacity – was a choice medium to dramatize this idea to non-Russian audiences. Throughout the 1920s, émigré cabarets enjoyed great popularity: Nikita Baliev's Chauve- Souris in New York, Jurij Jushnij's Die Blaue Vogel in Berlin, J. Son's Masch

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15

Munné, Myriam I. "Drinking in Tango Lyrics: An Approach to Myths and Meanings of Drinking in Argentinian Culture." Contemporary Drug Problems 28, no. 3 (2001): 415–39. http://dx.doi.org/10.1177/009145090102800305.

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A study of cultural aspects of drinking analyzes the lyrics and titles of 82 Argentinian sung tangos, written between 1914 and 1977, in terms of references to drinking and drunkenness. Champagne, as the drink of the brothel or the cabaret, is the most commonly mentioned beverage, and is associated with status and parties. But the primary motivations given for drinking, usually by a male narrator, are negative: to forget—particularly to forget a lost love—and to drown sorrows. Paradoxically, the alcohol is often seen as facilitating remembering and as making one sad. The song's narrator often p

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16

Zaroum, Abdulhamid Mohamed Ali, Mohd Abbas Abdul Razak, and Abdul Latif Abd. Razak. "Creativity in Islamic Entertainment: A Case Study of Malaysian Nashid Groups (Rabbani, Raihan and Hijjaz) (Kreativiti dalam Hiburan Islam: Kajian Kes Kumpulan Nasyid Malaysia (Rabbani, Raihan And Hijjaz))." Journal of Islam in Asia (E-ISSN: 2289-8077) 15, no. 2 (2018): 500–519. http://dx.doi.org/10.31436/jia.v15i2.761.

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This paper attempts to shed some light on Islamic Nashid (Nasyid) groups in Malaysia, in particular Rabbani, Raihan and Hijjaz. With the emergence of globalization and its entertainment aspect, and due to the huge influence of modernization on the society especially among the youth, there was a need for an alternative entertainment. And, as far as Muslims are concerned, the most effective way in this regard was, to a great extent, Islamic Nashid. Entertainment itself has been an area of great discussion and dispute among Muslim scholars throughout the ages all over the world. In Malaysia, the

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17

Atkey, Mel. "A Million Miles from Broadway." Brock Review 12, no. 2 (2011): 1–11. http://dx.doi.org/10.26522/br.v12i2.358.

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Musical theatre can take root anywhere. The future of the musical may very well lie beyond Broadway and the West End. In recent years, successful musicals have been developed in Canada, Australia and the German speaking countries. Some, like Elisabeth, have travelled internationally without ever playing in English. Companies in Korea, Japan and China are investing in new works, both domestically and internationally. These different countries can learn from each other. In South Africa, people do literally burst into song on the streets. During the apartheid era, some of the freedom fighters wer

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18

"Cabaret performance: v.2: Europe, 1920-1940, sketches, songs, monologues, memoirs." Choice Reviews Online 30, no. 09 (1993): 30–4899. http://dx.doi.org/10.5860/choice.30-4899.

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19

"Cabaret performance: v.1: Europe, 1890-1920: sketches, songs, monologues, memoirs." Choice Reviews Online 27, no. 09 (1990): 27–5040. http://dx.doi.org/10.5860/choice.27-5040.

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20

"From the les goguettes to cabarets — ab out the relationship between a French and Polish cabaret song in the years 1881–1911." Prace Polonistyczne 72 (2017). http://dx.doi.org/10.26485/pp/2017/72/10.

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21

Procter, Simon. "Empowering and Enabling." Voices: A World Forum for Music Therapy 1, no. 2 (2001). http://dx.doi.org/10.15845/voices.v1i2.58.

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Between sessions, I look around at my environment. I work in a pleasant room, with plenty of light (although sometimes too much heat). I have a good array of instruments with which people can make all manner of music together. I think of the music-making I have been a part of here so far today: a listening and supportive group who have been together for over a year now and whose music is really developing; a startlingly beautiful Bangladeshi song sung by a woman with whom I have barely a word of language in common; and a rousing rendition of Frankie Vaughan's greatest hits from a would-be caba

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22

Furnica, Ioana. "Subverting the “Good, Old Tune”." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2641.

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   “In the performing arts the very absence of a complete score, i.e., of a complete duplicate, enables music, dances and plays to survive. The tension created by the adaptation of a work of yesterday to the style of today is an essential part of the history of the art in progress” (Rudolf Arnheim, “On Duplication”). In his essay “On Duplication”, Rudolf Arnheim proposes the idea that a close look at the life of adaptations indicates that change is not only necessary and inevitable, but also increases our understanding of the adapted work. To Arnheim, the most fruitful approa

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23

Burns, Alex. "'This Machine Is Obsolete'." M/C Journal 2, no. 8 (1999). http://dx.doi.org/10.5204/mcj.1805.

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'He did what the cipher could not, he rescued himself.' -- Alfred Bester, The Stars My Destination (23) On many levels, the new Nine Inch Nails album The Fragile is a gritty meditation about different types of End: the eternal relationship cycle of 'fragility, tension, ordeal, fragmentation' (adapted, with apologies to Wilhelm Reich); fin-de-siècle anxiety; post-millennium foreboding; a spectre of the alien discontinuity that heralds an on-rushing future vastly different from the one envisaged by Enlightenment Project architects. In retrospect, it's easy for this perspective to be dismissed as

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24

Lavers, Katie, and Jon Burtt. "Briefs and Hot Brown Honey: Alternative Bodies in Contemporary Circus." M/C Journal 20, no. 1 (2017). http://dx.doi.org/10.5204/mcj.1206.

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Briefs and Hot Brown Honey are two Brisbane based companies producing genre-bending work combining different mixes of circus, burlesque, hiphop, dance, boylesque, performance art, rap and drag. The two companies produce provocative performance that is entertaining and draws critical acclaim. However, what is particularly distinctive about these two companies is that they are both founded and directed by performers from Samoan cultural backgrounds who have leap-frogged over the normative whiteness of much contemporary Australian performance. Both companies have a radical political agenda. This

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25

Kellner, Douglas. "Engaging Media Spectacle." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2202.

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In the contemporary era, media spectacle organizes and mobilizes economic life, political conflict, social interactions, culture, and everyday life. My recently published book Media Spectacle explores a profusion of developments in hi-tech culture, media-driven society, and spectacle politics. Spectacle culture involves everything from film and broadcasting to Internet cyberculture and encompasses phenomena ranging from elections to terrorism and to the media dramas of the moment. For ‘Logo’, I am accordingly sketching out briefly a terrain I probe in detail in the book from which these exampl

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26

Poletti, Anna, and Julie Rak. "“We’re All Born Naked and the Rest Is” Mediation: Drag as Automediality." M/C Journal 21, no. 2 (2018). http://dx.doi.org/10.5204/mcj.1387.

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This essay originates out of our shared interest in genres and media forms used for identity practices that do not cohere into a narrative or a fixed representation of who someone is. It takes the current heightened visibility of drag as a mode of performance that explicitly engages with identity as a product materialized—but not completed—by the ongoing process of performance. We consider the new drag, which we define below, as a form of playing with identity that combines bodily practices (comportment and use of voice) and adornment (make-up, clothing, wigs, and accessories) with an array of

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