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

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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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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2

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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3

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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4

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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5

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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6

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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8

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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9

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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10

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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11

Сысолятин, Б. В. "MUSICAL FOLKLORE OF GREAT BRITAIN IN PERCY GRAINGER’S OEUVRE." Music Journal of Northern Europe, no. 2(22) (May 8, 2024): 33–51. http://dx.doi.org/10.61908/2413-0486.2020.22.2.33-51.

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В XX веке мир искусства искал новые способы выразительности. Академические каноны больше не работали, и поэтому многие художники, музыканты и писатели обратили свой взгляд на то, что ранее считалось экзотикой или низкой традицией, которую ещё надо облагородить. Австралийский композитор и выдающийся пианист Перси Грейнджер (1882–1961) был одним из таких новых творцов. Согласно собственной творческой философии он принялся искать новый музыкальный язык в природе и в «примитивном искусстве» – в фольклоре. Свои поиски он начал с фольклора Британских остров. Вместе с английскими композиторами, в нач

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12

Guzy-Pasiak, Jolanta. "Polish musical life in Great Britain during the Second World War." Muzyka 64, no. 1 (2019): 144–53. http://dx.doi.org/10.36744/m.249.

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The present article is the first attempt to provide a comprehensive – as much as the available sources allow – presentation of Polish music in Great Britain during the war, without any claims to completeness. The main institution attracting Poles in London was, practically from the beginning of the war, Polish Hearth, founded by Polish artists, scholars and writers. The Polish Musicians of London association with Tadeusz Jarecki organised classical music concerts and published contemporary works by Polish composers. The organisation was instrumental in the founding of the London Polish String

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13

Asztalos, Andrea. "The Spread of Zoltán Kodály’s Music Education Principles in the World." Studia Universitatis Babeş-Bolyai Musica 68, no. 1 (2023): 11–27. http://dx.doi.org/10.24193/subbmusica.2023.1.01.

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"The purpose of this study is to summarize the essence of Zoltán Kodály’s music education philosophy and concept and to shed light on the presence of this music education concept in domestic and foreign music education in the 21st century. In the study, I present how music education based on Kodály’s principles has been adapted in the USA, Great Britain, Ireland, Scotland, Greece, Netherlands, Australia, Japan, and China and how it flourishes even in the 21st century. Keywords: Kodály Concept, music education, singing, music literature, adaptation of Kodály Concept"

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14

Chapman, Ross. "Paul Watt. Music, Morality and Social Reform in Nineteenth-Century Britain." Context, no. 50 (March 7, 2025): 127. https://doi.org/10.46580/cx85394.

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Music and Morals, the 1871 book by English writer and cleric Hugh Reginald Haweis, attracted a wide readership: it was reprinted at least fifteen times by 1912, and translated into German in 1887. However, for contemporary readers seeking an understanding of the nineteenth-century relationship between music and morality, Haweis’s brief reflections on musical affect, and much longer hagiographies of the lives of great composers, seem to prompt as many questions as they answer. Paul Watt found this to be the case too, and explores the topic much more germanely in Music, Morality and Social Refor

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15

Battier, Marc. "Between Computer Automation, Voltage Control and Literature: A portrait of Peter Zinovieff." Organised Sound 26, no. 3 (2021): 413–18. http://dx.doi.org/10.1017/s1355771821000492.

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The life and times of Peter Zinovieff (1933–2021) have been amply commented upon and there are numerous testimonies of his role on developing electronic music as well as his strong impact on musicians throughout the 1970s. However, besides his important role in developing synthesisers, sound processing and various other devices, he is now recognised as a significant pioneer in music with computers. His collaboration with Harrison Birtwistle’s opera The Mask of Orpheus has been deemed an important contribution to contemporary music in Great Britain. Finally, his late return to composition and p

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16

Feller, Ross. "David Toop, Curator: Not Necessarily “English Music”: A Collection of Experimental Music from Great Britain, 1960–1977." Computer Music Journal 28, no. 2 (2004): 94–96. http://dx.doi.org/10.1162/comj.2004.28.2.94.

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17

Stowasser, Helen. "Some Personal Observations of Music Education in Australia, North America and Great Britain." International Journal of Music Education os-22, no. 1 (1993): 14–28. http://dx.doi.org/10.1177/025576149302200104.

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18

Postolenko, Iryna. "PRACTICAL IMPLEMENTATION OF EDUCATIONAL PROGRAMS IN MODERN SCHOOLS IN GREAT BRITAIN." Psychological and Pedagogical Problems of Modern School, no. 2(6) (December 21, 2021): 13–19. http://dx.doi.org/10.31499/2706-6258.2(6).2021.247507.

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The article considers the practical implementation of educational programs in modern schools in Great Britain. The main methodological approaches to the implementation of the content of educational subjects are studied. The peculiarities of the organization of the pedagogical process during the study of core and basic subjects in British schools are studied in detail, namely, English, mathematics, science, art and design, citizenship, technology and design, geography, history, ICT, modern foreign languages, music, physical education, personal, social, health education, religious education. The

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19

Baguzina, E. I. "INTEGRATING MUSIC AND SONG HERITAGE OF GREAT BRITAIN INTO THE ENGLISH LANGUAGE CLASSROOM." Concept: philosophy, religion, culture 1, no. 9 (2019): 200–206. http://dx.doi.org/10.24833/2541-8831-2019-1-9-200-206.

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20

Palmer, John. "SPACES AND PLACES: AN INTERVIEW WITH SIMON EMMERSON." Tempo 63, no. 247 (2009): 19–23. http://dx.doi.org/10.1017/s0040298209000023.

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Since November 2004 Simon Emmerson has been Professor of Music, Technology and Innovation at De Montfort University, Leicester, following 28 years as Director of the Electroacoustic Music studios at City University, London. As a composer he works mostly with live electronics; he has also completed purely electroacoustic commissions from the IMEB (Bourges) and the GRM (Paris). In addition to extensive writings on the subject, he was founder Secretary of EMAS (The Electroacoustic Music Association of Great Britain) in 1979, and served on the Board of Sonic Arts Network from its inception until 2

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21

Long, Stephen. "Magnus Lindberg's Recent Orchestral Music." Tempo, no. 208 (April 1999): 2–8. http://dx.doi.org/10.1017/s0040298200006963.

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The decades immediately following World War II constituted a flourishing period of musical innovation on the international scene, encompassing a considerable range of stylistic orientations and techniques. Exploration that led to genuinely innovative compositional practices involving relationships among melody, harmony, rhythm, and timbre reached fruition by the mid-1980s. Accordingly, the challenge to composers who emerged during this latter period was twofold: to develop personal styles through a discriminating selection from this large heritage of techniques and stylistic resources – and, i

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22

White, Julian. "Catalan Folk Sources in ‘Soirées de Barcelone’." Tempo, no. 198 (October 1996): 11–22. http://dx.doi.org/10.1017/s0040298200005325.

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What might have happened to Roberto Gerhard had he not left Spain at the end of the Spanis Civil War will remain one of the great imponderables of his career. His voluntary exile to Britain released him from the role of ‘responsible artist of the Spanish Republic’ – and from the many activities (musicological, literary, pedagogical and administrative) which however vital to the cultural politics of Catalonia had inevitably limited his composing time. He came to view exile as a ‘blessing in disguise’ and eventually took up British citizenship.

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23

Salaman, William. "The Role of Graded Examinations in Music." British Journal of Music Education 11, no. 3 (1994): 209–21. http://dx.doi.org/10.1017/s0265051700002175.

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The perceived benefits of graded examinations are compared with the actual benefits that they bring and are then weighed against the more general and widely accepted desirable outcomes of musical education in Great Britain. The syllabus of a typical graded examination is analysed in some detail and the conclusions drawn suggest that the time-honoured format of graded examinations serves only some of the musical needs of pupils. Some radical suggestions for up-dating examinations are discussed.This article is based on some of the materials prepared for the certificate course: Music Teaching in

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24

Maukin, Vsevolod R. "The Transcendence of Psychedelic Rock as a Phenomenon of the Mass Musical Culture of Great Britain and the USA of the 1960s and 1970s." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 28, no. 2 (2022): 149–56. http://dx.doi.org/10.15826/izv1.2022.28.2.034.

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The paper discusses transcendental trends in psychedelic rock music in the USA and Great Britain of the 1960s and 1970s. The reasons for the interest in altered states of consciousness among young people in the designated era are investigated. The main features of psychedelic rock are emphasized: its harmonic, rhythmic and timbral features, as well as recording techniques and the theme of songs.

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25

Wrede, Maria, Maria Brynda, and Zofia Głowicka. "Informacja o zbiorach dawnego Muzeum Księży Marianów im. ks. Józefa Jarzębowskiego w Fawley Court (Wielka Brytania) – obecnie w Muzeum im. ks. Józefa Jarzębowskiego w Licheniu Starym koło Konina." Z Badań nad Książką i Księgozbiorami Historycznymi 14, no. 1 (2020): 63–89. http://dx.doi.org/10.33077/uw.25448730.zbkh.2020.182.

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History of the Museum of Marian Fathers, founded at the college for boys in Bielany, the district of Warsaw, reconstituted in the Fawley Court at Henley-on-Thames, Great Britain, and finally moved to the Shrine of Our Lady of Sorrows in Licheń Stary, is the key to understanding the content and organization of this collection. Patriotic, religious and educational aspects of the museums, its role for the Polish diaspora in Great Britain, and its depletion in the results of historical changes. Presentation of the collection content” museum objects – sidearm, sculptures, artistic fabrics, drawings

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26

Headington, Christopher. "Malcolm Lipkin and his recent music." Tempo, no. 169 (June 1989): 28–33. http://dx.doi.org/10.1017/s0040298200025134.

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Well, yes, of course: Schoenberg's famous remark was made in America about Charles Ives, not in Britain about Malcolm Lipkin. I actually believe that Lipkin (a genuinely modest man) would be shocked to be called a great composer, and that he is too gentle in outlook to be capable of contempt towards anyone. But Schoenberg's second sentence fits him will, for here is an individual musical personality that has developed over the years into a strong voice. Those years may now be counted in some number, and indeed when Schoenberg wrote those lines on Ives some 45 years ago Lipkin was already study

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27

Clarke, Martin V. "Music and Charles Wesley’s Legacy." Journal of Religious History, Literature and Culture 10, no. 2 (2024): 57–80. https://doi.org/10.16922/jrhlc.10.2.5.

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Charles Wesley is one of the most prominent figures in the history of Methodism, arguably second only in the popular imagination to his older brother, John. In large part, this is due to Charles’s prolific achievements as a hymn writer. A significant number of his hymns, albeit a small proportion of the estimated nine thousand he wrote, have been widely and continuously sung in worship by Methodists and other Christians in Great Britain and beyond since the eighteenth century. Charles’s hymn texts were written to be sung, whether by the early followers of Methodism in the small group meetings

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28

Inkin, V. V. "The British Digital Press Archive as a source on the history of the collective memory of the First World War participants in the interwar period." Tambov University Review. Series: Humanities 29, no. 4 (2024): 1133–45. http://dx.doi.org/10.20310/1810-0201-2024-29-4-1133-1145.

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Importance. The 110th anniversary of the First World War outbreak awakens in the public and scientific community not only discussions about the causes of the conflict, but also forces us to turn to the legacy of this process. In this regard, the work actualizes the theme of historical memory of the “Great War”. The purpose of the study is to reflect the complex of the legacy of the First World War in Great Britain in the 1930s by referring to the British Newspaper Archive.Materials and Methods. For the analysis of historical memory in the Great Britain, memoirs, monumental art, works of cinema

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29

Stollberg, Arne. "„A work so truly English in its story and its music“. Arthur Sullivans Ivanhoe und die Suche nach einer englischen Nationaloper." Studia Musicologica 52, no. 1-4 (2011): 457–84. http://dx.doi.org/10.1556/smus.52.2011.1-4.32.

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In order to overcome the persistent cliché of a “land without music,” considerable efforts were made in Great Britain at the end of the 19th century to establish what is now labelled the English Musical Renaissance. One of the movement’s main concerns was to establish both institutionally and artistically a National Opera for the production of English works. In this context, the opening of a newly built opera house, the Royal English Opera, by the impresario Richard D’Oyly Carte in 1891 created a great stir. The Royal English Opera was inaugurated with Arthur Sullivan’s “Romantic Opera” Ivanho

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30

Moore, James Ross. "The Gershwins in Britain." New Theatre Quarterly 10, no. 37 (1994): 33–48. http://dx.doi.org/10.1017/s0266464x00000075.

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Overwhelmingly, the British reputation of George Gershwin is as a ‘serious’ composer: but this is liable to obscure not only the contributions he and his brother Ira made to the popular music theatre in Britain, but also, conversely, the British influences upon this seemingly all-American pair. George was profoundly influenced by that pre-eminent American Anglophile of his time, Jerome Kern, while British influences upon the semi-scholarly Ira extended far beyond W. S. Gilbert and P. G. Wodehouse. After ‘Swanee’ swept Britain in 1920, and George had honed his art and craft by writing the score

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31

Tusheva, Viktoriya. "STUDY OF SCIENTIFIC RESEARCH CULTURE OF FUTURE MUSIC TEACHERS IN EUROPEAN COUNTRIES." 1 1, no. 1 (2020): 23–29. http://dx.doi.org/10.34142/27091805.2020.1.01.04.

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Object. In the article taking into account forming of European educational space orientated on rapprochement of the systems of training of pedagogical personnels in the countries of European union, actuality of the research-oriented studies as innovative is grounded. Methods. On the basis of comparativist analysis the different vectors of refraction of theoretical and practical experience are considered in relation to forming of scientifically-research culture of teachers, future teachers of musical art, in European countries (To Germany, Poland, Great Britain). Results. It was found that in t

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32

DOBROVOLSKA, Rufina. "HISTORICAL AND PHILOSOPHICAL FOUNDATIONS OF THE PHENOMENON OF MUSIC THERAPY IN GREAT BRITAIN AND THE USA." Humanities science current issues 1, no. 60 (2023): 296–300. http://dx.doi.org/10.24919/2308-4863/60-1-44.

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33

Bunt, Leslie, David Pike, and Vanessa Wren. "Music Therapy in a General Hospital's Psychiatric Unit — A ‘Pilot’ Evaluation of An Eight Week Programme." Journal of British Music Therapy 1, no. 2 (1987): 22–27. http://dx.doi.org/10.1177/135945758700100205.

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Within Great Britain music therapy is developing a presence in the field of mental health. There is a history of work within the large institutions and there are present moves to develop more work in community based day hospitals and units. This paper charts the setting-up of a short period of eight sessions for a group attending a unit based within a general hospital. Positive results from a simple evaluation from both clients and staff point to the need for further studies to be set up when more detailed questions can be addressed.

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34

Agisheva, Yuliya. "Composer Elizabeth Lutyens: Contribution to Serialism." Scientific and analytical journal Burganov House. The space of culture 15, no. 4 (2019): 147–60. http://dx.doi.org/10.36340/2071-6818-2019-15-4-147-160.

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The article concerns some aspects of the career and life of British composerElisabeth Lutyens (1906-1983). Her name is almost unknown in Russia. The composer’soutput embraces the 20-80s of the 20th century and consists of lots of genres: instrumental,chamber, vocal music, opera, incidental music for cinema and broadcasting. The serialismcompositional technique is one of the key points of the composer’s idiom. Lutyens was one of the first to begin to use it in Great Britain. The composer insisted she had invented serialism before discovering the music of the Second Viennese School (A. Schoenber

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35

Mlađenović, Dimitrije. "Historical contributions to the study of Serbian-British relations in the field of music and culture from 1914 to 1941." New Sound, no. 56-2 (2020): 91–117. http://dx.doi.org/10.5937/newso2055091m.

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The paper deals with the relations between the Kingdom of Serbia / Kingdom of Serbs, Croats and Slovenes / Kingdom of Yugoslavia and Great Britain with special emphasis on their 'encounters' in the field of music and culture during the First World War and then between the two wars, which drew the two fairly mutually distant and insufficiently known 'worlds' closer. That music was an integral part of all major social and state events staged by the two countries at different moments and in different situations throughout the mentioned historical periods can be observed. The paper also shows that

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Agisheva, Yuliya I. "British Musicology in Personalities: Paul Griffiths." Russian Musicology 134, no. 1 (2025): 54–60. https://doi.org/10.56620/rm.2025.1.054-060.

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The article makes a brief overview of the history of British musicology, which had many outstanding exponents starting from the late 17th century, most of them enlightened music lovers of one kind or another. Among the factors that have influenced the development of musicology in Great Britain to varying degrees are performance practice, the numerous societies of music lovers, and the close connection between musicology and journalism. The name of Paul Griffiths, who holds a degree in biochemistry from Oxford University and is not a professional musician, occupies a prominent place in British

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37

BOWAN, KATE. "Reconstructing a ‘Special Relationship’ from Scattered Archives: America, Britain, Europe and the ISCM, 1922–45." Journal of the Royal Musical Association 147, no. 2 (2022): 616–28. http://dx.doi.org/10.1017/rma.2022.29.

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In an account of the early history of the International Society for Contemporary Music (ISCM) for a 1946 BBC broadcast, president of the ISCM Edward Dent recounted the ‘two main reasons’ why London was proposed as the society’s initial headquarters at that first meeting in 1922 in Salzburg. Firstly, he maintained, ‘it stood apart from all the quarrels and jealousies of the Continent’, and secondly, and most importantly for the purposes of this article, he outlined a triangulated relationship: ‘[London] was regarded as a link between Europe and America.’ ‘American music’, he continued, ‘really

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Eatock, Colin. "The Crystal Palace Concerts: Canon Formation and the English Musical Renaissance." 19th-Century Music 34, no. 1 (2010): 87–105. http://dx.doi.org/10.1525/ncm.2010.34.1.087.

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Abstract This article examines the role of London's Crystal Palace in the popularization of ““classical music”” in Victorian Britain, and in the creation of the orchestral canon in the nineteenth century. The Crystal Palace was originally built in Hyde Park for the Great Exhibition of 1851 and was reconstructed in the London suburb of Sydenham in 1854. This popular attraction assumed a musical prominence in British culture when the ambitious conductor Augustus Manns established an orchestra there in 1855, and presented a series of Saturday Concerts until 1900. Central to this discussion of the

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Colette, Marie-Noël, M. Huglo, Chr Meyer, N. C. Phillips, and Marie-Noel Colette. "The Theory of Music Manuscripts from the Carolingian Era up to c. 1500 in the Great Britain and in the United States of America." Revue de musicologie 80, no. 1 (1994): 131. http://dx.doi.org/10.2307/947308.

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40

Mykhaskovа, Marina. "FOREIGN EXPERIENCE OF PROFESSIONAL TRAINING OF THE FUTURE MUSIC TEACHERS." Continuing Professional Education: Theory and Practice, no. 1 (2020): 74–79. http://dx.doi.org/10.28925/1609-8595.2020.1.11.

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The article deals with the comparative analysis of the system of music training of pedagogues-musicians abroad (in the countries of the European Union, Scandinavian countries, United States of America, People’s Republic of China and Japan) in particular, comparing these systems and selecting the most valuable experience for implementation in Ukraine. Particular attention is paid to the structure of music teacher education in Poland, Latvia, Finland, Germany, Hungary, Austria, Czech Republic, Slovak Republic, Sweden, Iceland, Norway, Great Britain, America, People’s Republic of China, Japan. Th

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Еселев, Л. Е. "George Harliono: “The Surest Way to Performing Pleasure is to Sleep Before a Recital”." Музыкальная академия, no. 2(786) (June 28, 2024): 196–201. http://dx.doi.org/10.34690/402.

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Джордж Харлионо — 23-летний пианист из Великобритании. Первый сольный концерт он дал в девять лет и с тех пор регулярно выступает по всему миру. В его багаже — премии таких конкурсов, как Grand Piano Competition (Россия), Royal Overseas League Music Competition (Великобритания), Gina Bachauer Piano Competition (США). В 2023 году Джордж был удостоен второй премии на XVII Международном конкурсе имени П. И. Чайковского, приковав к себе внимание многих московских меломанов. В интервью для журнала «Музыкальная академия» Джордж поделился историей своего профессионального становления, рассказал о пам

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Duffett, Mark. "Caught in a trap? Beyond pop theory's ‘butch’ construction of male Elvis fans." Popular Music 20, no. 3 (2001): 395–408. http://dx.doi.org/10.1017/s026114300100157x.

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Common knowledge has it that Elvis Presley stood for sexual liberation – because his gyrations caused the first controversy, he liberated Western culture from the curse of sexual repression. Beyond the female fans that play a role in that image, Elvis has a vast number of male followers. With more than 20,000 members, the Official Elvis Presley Fan Club of Great Britain (OEPFC) is the largest fan club in the world. According to the president, half the members are male (Slaughter 1996, p. 1). This means that thousands of male fans are dedicated enough to stay in one organisation. Over 400 small

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McKinnon, Dugal. "Dead Silence: Ecological Silencing and Environmentally Engaged Sound Art." Leonardo Music Journal 23 (December 2013): 71–74. http://dx.doi.org/10.1162/lmj_a_00158.

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Silencing and musicalization, as defined by Douglas Kahn, are valuable means to call attention to the sonically liminal. They create a frame within which acoustic silence can be attended to, either as a conceptual phenomenon or as the dead silence of sounds and soundmakers subjected to ecological silencing. Through critical discussion of silence in Kahn's writing on John Cage, as well as in acoustic ecology and soundscape composition, an outline of ecological silencing is developed and applied through the examination of environmentally engaged sound works by Sally Ann McIntyre of New Zealand a

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McGuire, Charles Edward. "John Bull, Angelica Catalani and Middle-Class Taste at the 1820s British Musical Festival." Nineteenth-Century Music Review 11, no. 1 (2014): 3–31. http://dx.doi.org/10.1017/s1479409814000135.

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This article examines the contentious relationship between the prima donna Angelica Catalani and the British musical festival in the 1820s. The inclusion of Catalani, the most famous soprano of her generation, at the great musical festivals in this decade, such as those of Birmingham, York, Derby and Manchester, among other places, was a sign of the aspects of spectacle festival producers thought necessary to capture the middle-class audience. At the time, contemporaries assumed this audience was increasing in number and importance. Catalani attempted to use her fame to dictate musical and aes

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Kozyk, Daria. "Frank Martin’s mass for double choir a cappella in the discourse of comparative interpretation." Aspects of Historical Musicology 29, no. 29 (2022): 184–203. http://dx.doi.org/10.34064/khnum2-29.10.

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Statement of the problem. The legacy of Frank Martin (1890–1974) has never been studied in Ukrainian musicology before, although his music is performed on many European stages. The absence in Ukrainian musicology of works devoted to the study of the style and peculiarities of the performance interpretation of the Swiss composer’s music actualises the need to study it as a holistic phenomenon in various discourses (socio-cultural, stylistic, performing) and to further popularise it among Ukrainian performers and listeners. This article develops a method of comparative interpretology. Recent res

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Herbst, Jan-Peter. "Culture-specific production and performance characteristics: An interview study with ‘Teutonic’ metal producers." Metal Music Studies 7, no. 3 (2021): 445–67. http://dx.doi.org/10.1386/mms_00059_1.

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Viking metal, Teutonic metal, Mesopotamian metal – labels of this kind are common in fan discourse, media and academia. Whereas some research has investigated such labels and related them to the artist’s stage presentation, music videos, artwork and lyrics, there is still a lack from the perspectives of music production and performance as to how such culturally and geographically associated labels differ musically. This article explores culture-specific production and performance characteristics of Teutonic metal, focusing on how metal from Germany differed from British and US-American product

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Cranwell, Jo, Magdalena Opazo-Breton, and John Britton. "Adult and adolescent exposure to tobacco and alcohol content in contemporary YouTube music videos in Great Britain: a population estimate." Journal of Epidemiology and Community Health 70, no. 5 (2016): 488–92. http://dx.doi.org/10.1136/jech-2015-206402.

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Mahabir, Cynthia. "The rise of calypso feminism: gender and musical politics in the calypso." Popular Music 20, no. 3 (2001): 409–30. http://dx.doi.org/10.1017/s0261143001001581.

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The sky is the limitWe rising, we rising, we woman rising,(Easlyn Orr, cited in Ottley 1992, p. 154)In February 1999, two women of Afro-Caribbean ancestry won their respective societies' highest musical honours. On 14 February, Singing Sandra was crowned Trinidad-Tobago's Calypso Monarch 1999 – the second woman ever to win this coveted title, a full twenty-one years after the country's first woman calypso monarch, Calypso Rose. Two weeks later in the USA, Lauryn Hill received five Grammy awards, the most in any single year for a female performer or a hip-hop artist. This trend continues in Gre

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Shkvorchenko, N. "SEMIOTIZATION OF POLITICAL TOXICITY IN THE MEDIA SPACES OF THE USA, GREAT BRITAIN AND UKRAINE: A MULTIMODAL ASPECT." MESSENGER of Kyiv National Linguistic University. Series Philology 25, no. 1 (2022): 142–51. http://dx.doi.org/10.32589/2311-0821.1.2022.263132.

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The article attempts to build a multimodal model of toxic political communication and determine common and distinctive features of the semiotization of political toxicity in the media environment of the United States, Great Britain and Ukraine. Toxic political communication is interpreted as a type of interaction characterized by a high degree of aggressive (verbal and/or paraverbal) behavior of various participants in the political discourse, which causes moral harm or discriminates against the opponent based on race, nationality or gender resulting in such politician(s) being perceived and t

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FAIRCLOUGH, PAULINE. "The Russian Revolution and Music." Twentieth-Century Music 16, no. 1 (2019): 157–64. http://dx.doi.org/10.1017/s1478572219000148.

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Nearly thirty years since the collapse of the Soviet Union, we have got used to seeing the Bolshevik Revolution as the prelude to a failed political experiment, albeit one that lasted a remarkably long time. But why do we see it as a failure? After all, the Soviet Union was a vast empire regarded as the military equal of the United States, feared and hated by successive US presidents, whose influence extended far beyond Soviet borders to include regimes in Africa, South East Asia, Central and South America. Had Mikhail Gorbachev not been removed in 1991, and had the Soviet system been able to

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