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Journal articles on the topic 'Music – california – history and criticism'

Author: Grafiati

Published: 25 July 2024

Last updated: 31 July 2025

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1

Тарускин, Р. ""'Everybody Gotta be Someplace' (on Context)"." Музыкальная академия, no. 2(782) (June 26, 2023): 52–83. http://dx.doi.org/10.34690/308.

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Данная публикация представляет собой перевод 21-й главы из посмертного сборника очерков Ричарда Тарускина «О временах и судьбах: программные выступления и заметки по случаю, 2006–2019» («Musical Lives and Times Examined: Keynotes and Clippings, 2006–2019»), выпущенного издательством Калифорнийского университета в начале 2023 года. В основе текста лежит ключевой доклад американского ученого, произнесенный 25 октября 2018 года в Белградском университете искусств на XIV Международной конференции «Контекстуальность музыкознания — что, как, почему и потому» («Contextuality of Musicology—What, How,

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2

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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3

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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4

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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5

Marcus, K. H. "Nineteenth Century California Sheet Music." Journal of American History 98, no. 1 (2011): 308. http://dx.doi.org/10.1093/jahist/jar137.

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6

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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7

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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8

Foote, Thelma Wills. "Music of African Americans in California." Pacific Historical Review 69, no. 1 (2000): 89–95. http://dx.doi.org/10.2307/3641239.

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9

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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10

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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11

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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12

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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13

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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14

Buell, Arthur. "CALIFORNIA SOUL: MUSIC OF AFRICAN AMERICANS IN THE WEST." Oral History Review 28, no. 2 (2001): 164–66. http://dx.doi.org/10.1525/ohr.2001.28.2.164.

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15

Cai, Cecily. "Doktor Faustus and its Variations on Lateness." arcadia 57, no. 2 (2022): 282–300. http://dx.doi.org/10.1515/arcadia-2022-9053.

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Abstract Thomas Mann’s novel Doktor Faustus, first published 1947, tells the story of a fictional German musician, Adrian Leverkühn, paralleled with the rise and fall of Germany in the first half of the 20th century. In fact, the idea of Doktor Faustus predated Mann’s exile, and it had been already conceived as a work of lateness – a Faust, a Parsifal in prose. In the process of creating variations on lateness, Mann referred to the musical models of Beethoven, Wagner, Mahler, Schoenberg, and the music criticism of Theodor W. Adorno. As a product of Mann’s exile in Southern California, Doktor F

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16

Watt, Paul, and Sarah Collins. "Critical Networks." Nineteenth-Century Music Review 14, no. 1 (2017): 3–8. http://dx.doi.org/10.1017/s1479409816000252.

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This article examines the idea of ‘Critical Networks’ as a way of studying the relational structures that shaped music criticism in the long nineteenth century. We argue that the personal, institutional and international networks that supported the dissemination of critical ideas about music are worthy of study in themselves, as they can yield insights beyond prevailing methodologies that centre on individual cases.Focusing on the institutional culture of music criticism means looking beyond the work of individual critics and the content or influence of their views, towards the structures that

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17

Schrader, Barry. "Live/electro-acoustic music — a perspective from history and California." Contemporary Music Review 6, no. 1 (1991): 91–106. http://dx.doi.org/10.1080/07494469100640101.

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18

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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19

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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20

Vasic, Aleksandar. "The magazine “Slavenska muzika” (1939–1941) in the history of Serbian music periodicals." Muzikologija, no. 29 (2020): 121–47. http://dx.doi.org/10.2298/muz2029121v.

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From November 1939 to March 1941, the monthly magazine ?Slavenska muzika?, a journal of the Association of Friends of Slavic Music, was published in Belgrade. The magazine did not differ from other Serbian magazines of the interwar period in its sections. ?Slavic music? also published essays on music, music criticism, reviews of books and music editions, notes, news, obituaries, and in one case, polemics. However, differentia specifica of this review is the exclusive focus on the music of the Slavic nations. The study provides a review and analysis of the texts in this journal. It was noticed

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21

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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22

Jr., Waldo E. Martin, Jacqueline Cogdell DjeDje, and Eddie S. Meadows. "California Soul: Music of African Americans in the West." Journal of American History 86, no. 1 (1999): 308. http://dx.doi.org/10.2307/2567538.

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23

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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24

Akhmadjanova, Shahnozakhan Shavkatovna. "CHARACTERISTICS OF MUSIC THEORY AND SOLFEGIO SCIENCE IN CHOREOGRAPHY EDUCATION." INTERNATIONAL BULLETIN OF APPLIED SCIENCE AND TECHNOLOGY 3, no. 6 (2023): 600–603. https://doi.org/10.5281/zenodo.8041768.

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Musicology is a branch of art studies.In turn, it covers the following fields of knowledge: music theory, music history, musical ethnography, musical criticism, musical acoustics, musical psychology and other fields.Music theory is a complex of scientific and educational sciences, which consists of such subjects as elementary theory of music, harmony, musical form, polyphony, solfeggio, instrumentation, and studies music from a theoretical point of view.This article provides information on the features of music theory and solfeggio science in choreography education, and also analyzes the role

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25

Frost, Charlotte. "Digital Critics: The Early History of Online Art Criticism." Leonardo 52, no. 1 (2019): 37–43. http://dx.doi.org/10.1162/leon_a_01379.

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Art critic Jerry Saltz is regarded as a pioneer of online art criticism by the mainstream press, yet the Internet has been used as a platform for art discussion for over 30 years. There have been studies of independent print-based arts publishing, online art production and electronic literature, but there have been no histories of online art criticism. In this article, the author provides an account of the first wave of online art criticism (1980–1995) to document this history and prepare the way for thorough evaluations of the changing form of art criticism after the Internet.

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26

Brown, Howard Mayer. "Recent Research in the Renaissance: Criticism and Patronage*." Renaissance Quarterly 40, no. 1 (1987): 1–10. http://dx.doi.org/10.2307/2861832.

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The book that everyone in musicology is talking about this year—not just those of us working in the fifteenth and sixteenth centuries—is Joseph Kerman's Contemplating Music (Cambridge, Mass.: Harvard University Press, 1985; called simply Musicology in the English edition). In it, Kerman argues against what he calls positivism, which he defines as a rigid and non-judgmental pursuit of dry facts, and in favor of the higher criticism, by which he seems to mean analysis—or at least some penetrating discussion of the way individual pieces work and what makes them great—informed by a sense of histor

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27

Vasic, Aleksandar. "Engagement in musical criticism: Pavle Stefanovic’s texts in The Music Herald (1938-1940)." Muzikologija, no. 27 (2019): 203–20. http://dx.doi.org/10.2298/muz1927203v.

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Pavle Stefanovic (1901-1985) is one of the most prominent Serbian music critics and essayists. He created extensive musicographic work, largely scattered in periodicals. A philosopher by education, he had an excellent knowledge of music and its history. His style was marked by eloquence, associativity and plasticity of expression. Between 1938 and 1940 he published eighteen music reviews in The Music Herald, the longest-running Belgrade music magazine in the interwar period (1928-1941, with interruption from 1934 to 1938). Stefanovic wrote about concerts, opera and ballet performances in Belgr

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28

Heller, George N., and Mark N. Grant. "Maestros of the Pen: A History of Classical Music Criticism in America." History of Education Quarterly 39, no. 2 (1999): 212. http://dx.doi.org/10.2307/370046.

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29

Vasic, Aleksandar. "Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century as a subject of musicology research." Muzikologija, no. 6 (2006): 317–42. http://dx.doi.org/10.2298/muz0606317v.

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The beginning of 2006 marked two decades since the death of Stana Djuric-Klajn, the first historian of Serbian musical literature. This is the exterior motive for presenting a summary of the state and results of up-to-date musicology research into Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century, alongside the many works dedicated to this branch of national musical history, recently published. In this way the reader is given a detailed background of these studies ? mainly the authors' names, books, studies, articles, as well as the problems o

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30

Fry, Katherine. "Nietzsche's Critique of Musical Decadence: The Case of Wagner in Historical Perspective." Journal of the Royal Musical Association 142, no. 1 (2017): 137–72. http://dx.doi.org/10.1080/02690403.2017.1286130.

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ABSTRACTAlthough philosophical and biographical accounts of Nietzsche and Wagner abound, the musical issues at stake in the late text Der Fall Wagner (The Case of Wagner, 1888) have rarely been addressed within their wider cultural context. This article explores the nineteenth-century concepts of decadence and degeneration as relevant for understanding the ambivalence of Nietzsche's late critique of Wagner. Emphasizing his affinity with contemporary French criticism, it argues that his late texts advance a theory of decadence pertinent to current music history and criticism. It locates The Cas

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Aryo, Aryo Sanjaya. "The Stereotype with Jazz Music from slavery Music to Elitist Music (1959-1988)." PERIODE: Jurnal Sejarah dan Pendidikan Sejarah 5, no. 2 (2023): 93–110. https://doi.org/10.21009/periode.052.2.

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Abstract: This study aims to describe the development of Jazz music in Indonesia and the existence of Jazz music in Indonesia from 1959 to 1988. The research method used is historical research method whose steps consist of gathering sources (heuristics), source criticism (verification), interpretation (interpretation), and writing (historiography). In the first stage the writer collects primary sources in the form of newspapers, magazines and historical actors, as well as secondary sources such as books and journals. After the data is collected, it is then verified externally and internally. N

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Desler, Anne. "History without royalty? Queen and the strata of the popular music canon." Popular Music 32, no. 3 (2013): 385–405. http://dx.doi.org/10.1017/s0261143013000287.

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AbstractAlthough canon formation has been discussed in popular music studies for over a decade, the notion of what constitutes ‘the popular music canon’ is still vague. However, considering that many scholars resent canon formation due to the negative effects canons have exerted on other academic fields, analysis of canon formation processes in popular music studies seems desirable: awareness of these processes can be a valuable tool for scholars’ assessment of how their academic choices contribute to canon formation. Based on an examination of the reception history of Queen in the popular mai

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33

Melinda, Melinda. "Zoltán Kodály’s visit to Santa Barbara and the premieres of the Psalmus Hungaricus and the symphony in America." Studia Musicologica 58, no. 1 (2017): 89–117. http://dx.doi.org/10.1556/6.2017.58.1.5.

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The article focuses on a particular station of Zoltán Kodály’s 1966 American tour, the fortnight spent in Santa Barbara, California in August 1966, during which he gave a televised interview to Ernő Dániel, chaired the conference “The Role of Music in Education: A Conference with Zoltán Kodály” held at the University of California, Santa Barbara, and attended a concert organized in his honor. Based on her research conducted on the spot in 1994 as well as on sources from the estate of Ernő Dániel, the paper also reconstructs the history of the premieres in California during the early 1960s of P

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34

Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.

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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil dra

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35

Lofton, Kathryn. "Dylan Goes Electric." Journal of Popular Music Studies 33, no. 2 (2021): 31–50. http://dx.doi.org/10.1525/jpms.2021.33.2.31.

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Within the study of rock music, religion appears as a racial marker or a biographical attribute. The concept of religion, and its co-produced opposite, the secular, needs critical analysis in popular music studies. To inaugurate this work this article returns to the moment in singer-songwriter Bob Dylan’s career that is most unmarked by religion, namely his appearance with an electric guitar at the 1965 Newport Folk Festival. Dylan’s going electric became, through subsequent years of narrative attention, a secularizing event. “Secularizing event” is a phrase coined to capture how certain epoch

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Branscombe, P. "E. T. A. Hoffmann's Musical Writings: 'Kreisleriana', 'The Poet and the Composer', Music Criticism." German History 10, no. 2 (1992): 248–50. http://dx.doi.org/10.1093/gh/10.2.248.

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37

MARCUS, KENNETH H. "Mexican Folk Music and Theater in Early Twentieth-Century Southern California: The Ramona Pageant and the Mexican Players." Journal of the Society for American Music 9, no. 1 (2015): 26–60. http://dx.doi.org/10.1017/s1752196314000534.

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AbstractIn an environment of racial tension and conflict in Southern California during the first half of the twentieth century, the Ramona Pageant and the plays by the Padua Hills Mexican Players offered Mexican American performers a vital role in perpetuating cultural memory through music and dance. The Ramona Pageant, which began in Hemet, California in 1923 and is still in operation, remains one of the longest-running pageants, or historical dramas, in U.S. history. Similarly, the Mexican Players were founded during the Great Depression in 1931 in Claremont, California and performed continu

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Rakhman, Akhmad Syaekhu. "Pertumbuhan Musik Metal di Indonesia Akhir 1980-an." HEURISTIK: Jurnal Pendidikan Sejarah 2, no. 1 (2022): 18–28. http://dx.doi.org/10.31258/hjps.2.1.18-28.

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Research on the growth of metal music in Indonesia in the late 1980s aims to identify the background for the emergence of metal music in Indonesia and to see the enthusiasm of young people for metal music and bring metal music to the Indonesian culture. On the other hand, the method used in this research is a historical research method with 4 stages, namely heuristics, source criticism, interpretation, and historiography. The result of this research is the history of the emergence of metal music in Indonesia, the enthusiasm of young people towards metal music began to emerge in the 1980s. The

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Saloman, Ora Frishberg. "Continental and English Foundations of J. S. Dwight's Early American Criticism of Beethoven's Ninth Symphony." Journal of the Royal Musical Association 119, no. 2 (1994): 251–67. http://dx.doi.org/10.1093/jrma/119.2.251.

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The reception history of Ludwig van Beethoven's symphonies in America offers striking evidence of multiple, previously unidentified, Continental and English connections to the musical thought of John Sullivan Dwight (1813–93), the first American-born critic of art music, and therefore to early American conceptions of the symphony in the 1840s. These direct links illuminate the history and criticism of the first performance in America of Beethoven's Symphony no. 9 in D minor, op. 125, which took place in New York in 1846. From the many sources associated with Dwight's musical learning and aesth

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Lau, David. "Drastic Measures in Los Angeles." Boom 3, no. 2 (2013): 82–86. http://dx.doi.org/10.1525/boom.2013.3.2.82.

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This essay is a review of two recent books of criticism: Bill Mohr's account of the Los Angeles poetry scene and Ignacio Lopez-Calvo's account of recent film and fiction set in Latino L.A. The essay argues for a conception of L.A. rooted in understanding the political and economic history of the city, and concludes with some speculation on the future of cultural production in the southern California region.

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Zuk, Patrick. "Words for music perhaps? Irishness, criticism and the art tradition." Irish Studies Review 12, no. 1 (2004): 11–29. http://dx.doi.org/10.1080/0967088042000192086.

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Souza, Alberto Carlos de. "The language of the art of music: an overview of its history in Brazil." Humanum Sciences 3, no. 1 (2021): 32–40. http://dx.doi.org/10.6008/cbpc2674-6654.2021.001.0004.

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This study sought to re-visit the two conceptions of Art – pedagogical and reflective - forged throughout history and its relationship with the Brazilian aesthetic thought of resistance. From the 60's, such thinking has given a pedagogical purpose to art, charged with the task of social criticism and political engagement human emancipatory: in this scenario mainly determined by the Theater of the Oppressed, the new movies and the protest song by Milton Nascimento, , Caetano Veloso, Chico Buarque, Gilberto Gil, among many others.

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Robinson, Paul. "Is Aida an orientalist opera?" Cambridge Opera Journal 5, no. 2 (1993): 133–40. http://dx.doi.org/10.1017/s0954586700003955.

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Among the more remarkable events of recent intellectual history is that Edward Said, famous avant-garde literary critic, passionate advocate for the Palestinian cause, has begun to write about music. Moreover, not just about any kind of music, but about classical music in the élite (and canonical) European tradition – the symphonies of Beethoven, the operas of Wagner, the chamber music of Schubert and Brahms. Several years ago Said took over the music column in The Nation magazine, and more recently he has published a book, Musical Elaborations, based on a series of invited lectures at the Uni

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Gianvittorio, Laura. "New Music and Dancing Prostitutes." Greek and Roman Musical Studies 6, no. 2 (2018): 265–89. http://dx.doi.org/10.1163/22129758-12341323.

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Abstract Old Comedy often brings prostitute-like dancers on stage while parodying the New Music. This paper argues that such dances were reminiscent of sex practices, and supports this view with dance-historical and semantic evidence. For the history of Greek dance, I survey the literary evidence for the existence of a dance tradition that represents lovers and their acts, and which would easily provide Comedy with dance vocabulary to distort. The semantic analysis of three comic passages, all criticising the New Music in sexual terms, shows a consistent overlapping between the semantic fields

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45

Zavіalova, Olha, and Mariya Yarko. "Modern algorithms for interpreting the history of music: an epistemological discourse." Culturology Ideas, no. 22 (2'2022) (2022): 8–16. http://dx.doi.org/10.37627/2311-9489-22-2022-2.8-16.

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In the article a historically significant situation is considered, when with the revival in the last third of the twentieth century of B. Asafyev's ideas on music as a sound intonation environment and an art of intoned meaning, as well as because of the expansion of modern humanitarian knowledge due to close interdisciplinary links, the musical criticism underwent a process of active development, synthesizing the subject field of historical and theoretical musicology on the basis of culturology and philosophy. The achievements of this process have been analyzed, which demonstrate a radical ren

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Kwon, Yongsun. "Waltar Benjamin’s Methodology for Art Criticism." Hankuk University of Foreign Studies Literature Studies 89 (February 28, 2023): 103–24. http://dx.doi.org/10.22344/fls.2023.89.103.

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This article is an attempt to read Walter Benjamin's essay Goethe's Affinity through the concept of 'counterpoint' in music. First, I argued that Benjamin appropriated the concept of “affinity” for his own art criticism and he valued the interaction between a writer and a critic as a production of “affinity” while criticizing a biographical approach toward a writer. Secondly, I proposed that Benjamin’s initial efforts for a dialectical structure resulted in the discontent with its “synthesis,” which Goethe had also echoed in his novel. Due to such a discord, Benjamin had to abandon the system

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Siqueira Castanheira, José Cláudio. "Introduction to the Sociology of Music Technologies: An Ontological Review." methaodos revista de ciencias sociales 10, no. 2 (2022): 419–29. http://dx.doi.org/10.17502/mrcs.v10i2.574.

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Adorno’s work, in particular the texts dealing with the relationship between music and social behaviors or structures, has been the target of criticism, especially in the second half of the 20th century, being considered by many to be generalist, dogmatic or even elitist. This work proposes the analysis of musical technologies not only as a set of compositional techniques, as Adorno does, but, in fact, as material conditions for the realization of a certain type of sound/music. The colonialist character of these technologies is also analyzed. Based on a review of some key concepts in Adornian

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Vasic, Aleksandar. "Serbian Literary Magazine and avant-garde music." Muzikologija, no. 5 (2005): 289–306. http://dx.doi.org/10.2298/muz0505289v.

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One of the most excellent periodicals in the history of Serbian literature Serbian Literary Magazine (1901-1914, 1920-1941), also played an exceptionally important part in the history of Serbian music criticism and essay literature. During the period of 35 years, SLM had released nearly 800 articles about music. Majority of that number belongs to the music criticism, but there are also studies and essays about music ethno musicological treatises, polemics, obituary notices, as well as many ample and diverse notes. SLM was published during the time when Serbian society, culture and art were inf

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Crocker, Piers. "Governor Nelson Dingley lives on: Maine, California, Norway and protectionism." International Journal of Maritime History 29, no. 3 (2017): 620–35. http://dx.doi.org/10.1177/0843871417714373.

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This article examines, from Norwegian sources, the stormy relationship between the local American canned fish industry and the Norwegian producers – and American importers – of Norwegian canned fish, principally ‘sardines’ (sprats) and herring. American opposition took the form of protectionism, either as direct import duty, or by implied criticism of the Norwegian industry (use of child labour or ‘inexperienced’ producers, or claims of ‘dumping’ sub-standard goods on the US market). Opposition varied with the national and international politics and economics of the day, with Republicans and D

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Britt, King, and Tara Rodgers. "‘We Cross Examine with Old Sonic DNA’: King Britt and Tara Rodgers in conversation on Blacktronika, music technology and pedagogy." Organised Sound 27, no. 1 (2022): 55–58. http://dx.doi.org/10.1017/s1355771822000231.

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Composers, producers and educators King Britt and Tara Rodgers discuss music technology history and pedagogy in the context of King Britt’s Blacktronika course at the University of California San Diego, which researches and celebrates Black artists and other artists of colour who are pioneers of electronic music genres. Conducted over email in June 2021, this interview also touches on King Britt’s studio practice and evolution as an artist and educator, as well as on the social and political roots of contemporary electronic music genres.

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