Relevant bibliographies by topics / Jungle (music) – great britain

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Jungle (music) – great britain'

Author: Grafiati
Published: 28 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Jungle (music) – great britain"

1

Cooke, Mike, and Richard Morris. "Music Making in Great Britain." Market Research Society. Journal. 38, no. 2 (1996): 1–10. http://dx.doi.org/10.1177/147078539603800203.

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Joss, Tim. "Community music development in Great Britain." International Journal of Community Music 3, no. 3 (2010): 321–26. http://dx.doi.org/10.1386/ijcm.3.3.321_1.

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Cordell, Tom, and Malcolm James. "Mutualism, massive and the city to come: Jungle Pirate Radio in 1990s London." Soundings 77, no. 77 (2021): 109–20. http://dx.doi.org/10.3898/soun.77.08.2021.

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1990s Britain was under Thatcherite continuity rule. But radio waves were appearing that carried fragments of the future: weekend broadcasts of a new kind of music - Jungle - were being illegally beamed across the city from the rooftops of tower blocks, appropriating them as the locus of an alternative cultural infrastructure. Pirate stations used newly emerging technologies to spread subversive sounds from the margins and to challenge dominant cultures.
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Koizumi, Kyoko. "Creative Music Education in Japan during the 1920's: The Case of the Elementary School Attached to Nara Women's Higher Teachers College." British Journal of Music Education 11, no. 2 (1994): 157–62. http://dx.doi.org/10.1017/s0265051700001030.

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‘Creative music-making’, as developed in recent years in Great Britain and other countries, has also become popular in Japanese music education; for many music teachers have come to think seriously about the significance of child-centred music education instead of teacher-centred music education. Such a trend seems to be new. However, as in the United States and Great Britain, child-centred music education has been implemented previously – during the 1920's, in Japan's case. This development began in the Elementary School Attached to Nara Women's Higher Teachers College. The author describes t
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Banerji, Sabita. "Ghazals to Bhangra in Great Britain." Popular Music 7, no. 2 (1988): 207–13. http://dx.doi.org/10.1017/s0261143000002762.

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The cultural identity of the Indian subcontinent has survived countless onslaughts and displacements often by simply absorbing and Indianising alien elements. The many hybrids in lifestyle, language, food and religion spawned of Britain and India's long, love-hate relationship are a testament to this. And now the process is repeating itself in the new generation of South Asians born and educated in Britain. It is a unique generation, its acceptance or rejection of and by white British society will probably set the pattern for generations to come, and the musical fusion which voices their cultu
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Barlow, Jill. "The Music of Richard Allain." Tempo 59, no. 234 (2005): 72–73. http://dx.doi.org/10.1017/s0040298205310321.

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Bunt, Leslie G. K., and Sarah L. Hoskyns. "A Perspective on Music Therapy Research in Great Britain." Journal of British Music Therapy 1, no. 1 (1987): 3–6. http://dx.doi.org/10.1177/135945758700100102.

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Researching and writing about music therapy has evolved from an early anecdotal stage through a period of rigorous behavioural research — particularly in the United States — to the present position where many directions could be followed. Outcome research can contribute to the profession's external validity and research into music therapy processes to increased internal validity. This paper argues for a synthesis of these two approaches, implying an integration of quantitative and qualitative analysis. Links with other disciplines are explored but in relation to the development of a coherent i
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Clark, Walter Aaron, and Tomi Makela. "Music and Nationalism in 20th-Century Great Britain and Finland." Notes 55, no. 3 (1999): 680. http://dx.doi.org/10.2307/900440.

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Volodymyr Fedorovych, CHERKASOV. "CONTENT OF EDUCATIONAL WORK IN INSTITUTIONS OF SECONDARY EDUCATION OF GREAT BRITAIN." Academis notes. Series: Pedagogical sciences 7 (April 26, 2024): 68–72. http://dx.doi.org/10.59694/ped_sciences.2024.07.068.

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The article substantiates the content of the organization of educational work in secondary education institutions of Great Britain based on the analysis of research by domestic and foreign scientists, the generalization of the work experience of state and private schools, the introduction of music classes, which positively affects the formation of the personality of the future citizen and defender of general cultural and national values. On the basis of a comparative analysis of the reform of secondary education institutions in Great Britain, we tried to identify psychological-pedagogical and
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Artamonova, E. A. "VLADIMIR REBIKOV AND HIS MUSIC IN GREAT BRITAIN (BASED ON ENGLISH PUBLICATIONS)." Arts education and science 1, no. 30 (2022): 88–100. http://dx.doi.org/10.36871/hon.202201010.

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In tsarist Russia, the musical legacy and views of Vladimir Ivanovich Rebikov (1866–1920) — the "father of Russian modernism" — were often perceived with irony and misunderstanding, being called quackery and pretentious. In Soviet times Rebikov and his music were simply ignored for a long time, being categorically attributed to musical decadence. Interestingly, the British press spoke of Rebikov in a positive way. The publication of sheet music and frequent concert performances of the composer's music in London, in particular at the Proms in autumn 1916, laid the interest of the British audien
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Dissertations / Theses on the topic "Jungle (music) – great britain"

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Wong, Wendy H. W. "Paul Wittgenstein in Great Britain." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/33743/.

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Most of the existing research on Paul Wittgenstein (1887–1961) focuses on his performing career in central Europe as a left-hand pianist and his commissions from the most prominent composers of the 20th century such as Richard Strauss and Maurice Ravel, and his favourite composer, Franz Schmidt. His British performing career and the compositions Ernest Walker, Norman Demuth and Benjamin Britten composed for and dedicated to him, however, remain relatively unexplored. By examining a variety of primary sources that are disclosed here for the first time, this thesis offers the first scholarly res
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Percival, James Mark. "Making music radio : the record industry and popular music production in the UK." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/362.

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Music radio is the most listened to form of radio, and one of the least researched by academic ethnographers. This research project addresses industry structure and agency in an investigation into the relationship between music radio and the record industry in the UK, how that relationship works to produce music radio and to shape the production of popular music. The underlying context for this research is Peterson's production of culture perspective. The research is in three parts: a model of music radio production and consumption, an ethnographic investigation focusing on music radio program
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Curran, Terence William. "Recording classical music in Britain : the long 1950s." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2340cf56-c2be-4c0b-b5a6-2cfe06c22fe4.

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During the 1950s the experience of recording was transformed by a series of technical innovations including tape recording, editing, the LP record, and stereo sound. Within a decade recording had evolved into an art form in which multiple takes and editing were essential components in the creation of an illusory ideal performance. The British recording industry was at the forefront of development, and the rapid growth in recording activity throughout the 1950s as companies built catalogues of LP records, at first in mono but later in stereo, had a profound impact on the music profession in Bri
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Toulson, David. "Culture is a weapon : popular music, protest and opposition to apartheid in Britain." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/84893/.

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This thesis explores the relationship between popular politics and popular music through the context of the international campaign against apartheid South Africa. In particular the thesis focuses on the ways in which the British Anti-Apartheid Movement, arguably the best organised and best established anti-apartheid solidarity organisation, interacted with popular music. This was a relationship that had been well established by the AAM’s attempts to enforce a wide ranging cultural boycott against South Africa. Growing challenges to the status and the logic of the boycott throughout the period,
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Aspden, Suzanne Elizabeth. "Opera and nationalism in mid-eighteenth-century Britain." Thesis, University of Oxford, 1999. http://ora.ox.ac.uk/objects/uuid:157fe363-632a-469f-bb42-1ede235a6a33.

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Italian opera gained an odd resonance in eighteenth-century British sensibility. By turns loved and hated, it acted on the British imagination as a catalyst both for some of the age's most brilliant satire, and for some of the century's most unusual musical extravagances. This dissertation argues that, despite (or in some ways because of) the eventual failure of Italian serious opera and its English hybrid forms to attain status within the musical canon, the progress of opera played a vital role in shaping and reflecting the formation of British national identity, and that, reciprocally, attem
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Parsonage, Catherine Jane. "The evolution of jazz in Britain c. 1880-1927 : antecedents, processes and developments." Thesis, City University London, 2002. http://openaccess.city.ac.uk/14853/.

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This thesis examines the way in which jazz evolved in Britain beginning with an examination of the cultural and musical antecedents of the genre, including minstrel shows and black musical theatre, within the context of musical life in Britain in the late nineteenth-early twentieth centuries. The processes through which this evolution took place are considered with reference to the ways in which jazz was introduced to Britain through imported revue shows and sheet music, as well as by the visits of American musicians. Finally, the subsequent development of jazz in Britain in the 1920s is analy
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Perkins, Rosie Louise. "The construction of 'learning cultures' : an ethnographically-informed case study of a UK conservatoire." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/265535.

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This study investigates the 'learning cultures' of a UK conservatoire of music. As educational institutions; conservatoires remain largely unresearched and, crucially, relatively unchallenged. In particular, existing research has paid little attention to indepth studies of culture, so that not enough is known of the cultural practices that characterise and shape a conservatoire education. To address this gap, the study adopts the conceptual lens of 'learning cultures'. Acknowledging recent research in further education, 'learning cultures' are conceptualised not as the contexts in which people
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Faust, Veronica T. "'Music has learn'd the discords of the state' the cultural politics of British opposition to Italian Opera, 1706-1711 /." Diss., Connect to the thesis, 2006. http://hdl.handle.net/10066/664.

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Sequera, Hector. "House music for recusants in Elizabethan England : performance practice in the music collection of Edward Paston (1550-1630)." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/1028/.

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Edward Paston (1550-1630) was very skilled in liberal arts, especially music and poetry. His love of music is reflected in his having gathered one of the largest collections of music manuscripts from Elizabethan and early Jacobean times. The collection is very important as it holds unique copies of many compositions by some of the best-known composers from the Renaissance including Byrd. This thesis investigates the idea of the Paston collection as a performing collection within the historical, cultural, and musical context of 16th century England. The study presents Edward Paston as a personi
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Atkinson, Peter John. "Regeneration and re-enchantment : British music and Wagnerism, 1880-1920." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7600/.

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This thesis considers the pervasive and multifaceted influence of Richard Wagner’s music, aesthetics, and politics on British composers during the late nineteenth and early twentieth centuries. Drawing on music analysis, hermeneutics, and various archival sources (composers’ writings, contemporary reviews, and unpublished music), each chapter of the thesis focusses on case studies that bring British musical Wagnerism into dialogue with a number of other prominent artistic and cultural currents during the period under consideration: notably, Celticism, Pre-Raphaelitism, Arthurianism, nationalis
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Books on the topic "Jungle (music) – great britain"

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Belle-Fortune, Brian. All crews: Journeys through jungle / drum & bass culture. Vision Publishing, 2004.

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Straubenzee, Philip Van. Desert, jungle and dale: A memoir. Pentland, 1991.

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Kendrick, Ian. Music in the air: The story of music in the Royal Air Force. EPL, 1986.

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Laughey, Dan. Music and Youth Culture. Edinburgh University Press, 2006.

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Moynahan, Brian. Jungle soldier: The true story of Freddy Spencer Chapman. Quercus, 2009.

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Belle-Fortune, Brian. All Crews: Journeys Through Jungle/Drum and Bass Culture. Velocity Press, 2023.

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Straubenzee, Philip Van. Desert, Jungle & Dale. Hyperion Books, 1989.

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Davies, Barry. SAS Jungle Survival. Skyhorse Publishing Company, Incorporated, 2013.

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Davies, Barry. SAS Jungle Survival. Skyhorse Publishing Company, Incorporated, 2013.

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Davies, Barry. SAS Jungle Survival. Ebury Publishing, 2011.

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Book chapters on the topic "Jungle (music) – great britain"

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Toppin, Julia. "Jungle:." In Black Music in Britain in the 21st Century. Liverpool University Press, 2023. http://dx.doi.org/10.2307/j.ctv33b9q7b.11.

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Frith, Simon, Matt Brennan, Martin Cloonan, and Emma Webster. "Moving to a different beat: jungle, bhangra, garage and grime." In The History of Live Music in Britain, Volume 3, 1985–2015. Routledge, 2021. http://dx.doi.org/10.4324/9781315557168-10.

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"‘Sing a Sankey’: The Rise of Gospel Hymnody in Great Britain." In Music and Theology in Nineteenth-Century Britain. Routledge, 2016. http://dx.doi.org/10.4324/9781315596693-14.

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Kildea, Paul. "Back to Britain with Britten (1959)." In Britten on Music. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0056.

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Abstract REID: Please throw your mind back to 1930. You settled in London as a raw sixteen-year-old. Just where? BRITTEN: I took a bed-sitter up under the roof in a boarding house at Prince’s Square, Bayswater. I hired a small upright piano and took care not to play it after ten at night. I hadn’t much money. As the youngest of four children I lived on a smallish allowance from my father. I was a ‘scholar,’ of course, but that didn’t amount to much; it merely meant that my tuition fees were paid. REID: I understand you weren’t happy at the Royal College of Music. That true? BRITTEN: Let’s put
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Block, Geoffrey. "Surviving in the 1930s Movie Studio Jungle." In A Fine Romance. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197501733.003.0002.

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Abstract In sharp contrast to those of his contemporaries, the film adaptations of Jerome Kern’s film musicals exhibited a degree of fidelity to their stage models, especially in the amount of music they retained, seldom found before the 1950s. The focus of this chapter is three stage musicals by Kern and their film adaptations: Show Boat, The Cat and the Fiddle, and Roberta. Show Boat was a pioneering stage musical that dealt seriously with racial attitudes and featured Black actors in important roles, and its 1936 film adaptation with Paul Robeson signing “Ol’ Man River” is an acknowledged f
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"Beethoven Tames the Jungle: A Great Soviet Composer Presents his Views on Music without Frontiers." In UNESCO Courier - Transforming Ideas. United Nations, 2022. http://dx.doi.org/10.18356/9789210012027c009.

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Lewis, Malcolm. "‘Shrouded in mystery’: the development of music provision in public libraries in Great Britain, 1850–1950." In Music Librarianship in the United Kingdom. Routledge, 2020. http://dx.doi.org/10.4324/9781003073741_2.

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"Modernism in Pianoforte Study (1915)." In Grainger on Music, edited by Malcolm Gillies, Bruce Clunies Ross, Bronwen Arthur, and David Pear. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198166658.003.0007.

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Abstract Editor’s Note.-Mr. Percy Grainger came to the United States last Fall by no means unknown to the elect, but comparatively little known to the public. It was his intention to live quietly in this country and complete several large unfinished orchestral and choral compositions. However, the exceptionally enthusiastic reception accorded to his orchestral compositions by press and public alike when performed by Walter Damrosch of the New York Symphony Orchestra in New York and other leading cities last winter induced him to appear as a piano virtuoso, and the result was numerous engagemen
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Kildea, Paul. "Boyd Neel: The Story of an Orchestra (1950)." In Britten on Music. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0031.

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Abstract It gives me great pleasure to introduce this account of the Boyd Neel Orchestra by its gifted and energetic founder and conductor. Such an account is welcome, for in its seventeen years of existence this orchestra has gained an important position in our musical life. The Boyd Neel Orchestra was the first in Great Britain and among the first in the world to establish on the musical scene the small self-contained orchestral ensemble. To their efforts largely is due the fact that the public nowadays will accept the distinction between Great music and Big music, will realize that importan
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Spring, Matthew. "The Lute in Consort." In The Lute In Britain. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195188387.003.0006.

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Abstract The great majority of surviving lute pieces from England are for the solo lute, yet this may not reflect the lute’s common use, and its role as a consort and accompaniment instrument may be no less significant. During the Middle Ages it was mainly used to play single lines, and combination with another instrument or instruments, or a voice or voices, may have been the norm. Once technique had changed to allow a single player to add a harmonic support to the melody line, the lute became a leading solo instrument. Solo music apart, the instrument’s new capacity to play chords and polyph
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