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Journal articles on the topic 'New wave music – History and criticism'

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

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1

Partola, Y. V. "Problems of Teaching Theater Criticism in the First Years of the Kharkiv Theater Institute." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 41–69. http://dx.doi.org/10.34064/khnum1-51.02.

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Background. The history of theater criticism in Ukraine is a poorly understood science area. The process of formation and development of Theater Studies education is even less learned page of our theatrical process. Currently we have mainly short background history descriptions of the single theatrical departments than the reproduction of the whole process. Kharkiv Theater Institute (now the Kharkiv National University of Arts named after I. P. Kotlyarevsky) is highlighted in several publications that date back to the jubilee dates of the educational institution (the articles by N. Logvinova (
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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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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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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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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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Whatley, Edward. "Book Review: Listen to New Wave Rock! Exploring a Musical Genre." Reference & User Services Quarterly 58, no. 4 (2019): 265. http://dx.doi.org/10.5860/rusq.58.4.7165.

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Listen to New Wave Rock! is the first volume in the Exploring a Musical Genre series from Greenwood Press. According to the series forward, the series will consist of “scholarly volumes written for the enjoyment of virtually any music fan” (x). Rather than attempt to provide an exhaustive history of new wave music, this volume instead focuses on fifty musical works the author considers to be “Must-Hear Music” (xiv). This limited focus allows the author to devote more attention to the chosen pieces of music than is typical of most reference resources. The entries provide accounts of each band’s
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Orlov, Vladimir V. "The Ensemble “Theater of New Music”: Its History, Activities and New Forms." ICONI, no. 4 (2019): 85–90. http://dx.doi.org/10.33779/2658-4824.2019.4.085-090.

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The article traces the history of the ensemble “Theater of New Music” from 2010 and 2019 and defines the main stages of the ensemble’s development: the first stage is the period of the ensemble’s formation (2010–2012), the second stage is the period of concerts in the form of theatrical performances and the quest for new forms of presentation of academic music (2012–2015), the third is the search for new forms of interaction between music and the other arts (2015–2018), and the fourth is the period of multimedia projects (since 2018). The main forms of presentation of academic music which were
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van Elferen, Isabella. "East German Goth and the Spectres of Marx." Popular Music 30, no. 1 (2011): 89–103. http://dx.doi.org/10.1017/s0261143010000693.

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AbstractThe East of Germany, the Bundesländer of the former GDR, is an important centre of Goth activity. The Goth scene is remarkably large in this part of Germany, and one of the most important yearly Goth festivals, the Wave-Gotik-Treffen, takes place in Leipzig. This article investigates the specific characteristics and internal dynamics of East German Goth subcultures after German reunification. Combining subcultural theory and Gothic criticism with Derrida's notions of spectrality and hauntology, the potentials of Gothic as a form of cultural criticism are explored in an investigation of
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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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Keller, Veronika. "Between ‘Ich will Spaß’ and ‘99 Jahre Krieg’: Receptions of the ‘New German Wave’ in the United States." European Journal of American Culture 42, no. 2 (2023): 231–46. http://dx.doi.org/10.1386/ejac_00094_1.

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In the late 1970s a new music movement, rooted in British punk and New Wave music, emerged in West Germany. It distinctly was not only sung in German, but the lyrics played with the German language by adding Dadaistic elements or youth slang, and reflected on the political, cultural and social zeitgeist of late Cold War West Germany. Over the years this formerly underground music genre was labelled ‘Neue Deutsche Welle’ (NDW) and became a commercial success, both domestically and abroad: Artists like Peter Schilling became known in the United States, the biggest hit ‘99 Luftballons’ by the ban
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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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Modini, Francesca. "The Cyclops’ Revenge." Greek and Roman Musical Studies 7, no. 1 (2019): 51–69. http://dx.doi.org/10.1163/22129758-12341334.

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Abstract Taking issue with the Gorgias and its dismissal of fifth-century Athenian rhetoricians and statesmen, in his Reply to Plato in Defence of the Four (Or. 3) the imperial sophist Aelius Aristides finds himself dealing with Plato’s condemnation of New Music, which in the Gorgias had gone hand in hand with the censure of rhetoric. In a brilliant display of new musical ‘revisionism’ so far ignored by scholars, Aristides presents in a positive light the notorious new dithyrambist Philoxenus of Cythera, so that Plato’s influential criticism of New Music, and especially of its political implic
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Vida Blagojević, Mirjam. "The first wave of rock'n'roll in Yugoslavia and its impact on the socialist youth." Review of Croatian history 18, no. 1 (2022): 289–320. http://dx.doi.org/10.22586/review.v18i1.24288.

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By taking advantage of abundant literature that has been written on the subject, the paper aims to give an overview of the history of rock music in Yugoslavia from its introduction in 1956 to the mid-1970s, when the new wave emerged. It also intends to remind the reader of this topic's relevance and open possible new research questions for history and related fields. Particular emphasis will be placed on the impact that this musical, cultural, social, and political phenomenon had on the lives of Yugoslav and other socialist youth while highlighting the changes rock'n'roll brought to their live
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ANDERSON, LAURA. "Musique concrète, French New Wave cinema, and Jean Cocteau'sLe Testament d'Orphée(1960)." Twentieth-Century Music 12, no. 2 (2015): 197–224. http://dx.doi.org/10.1017/s1478572215000031.

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AbstractJean Cocteau (1889–1963) is recognized as one of France's most well-known film directors, directing six films over a thirty-year period. This article argues that his film soundscapes occupy a unique position in the history of French film sound, providing a key link between contemporary experimentation in art music and the sonic experimentation of the New Wave filmmakers. This argument is best exemplified byLe Testament d'Orphée(1960), which represents the apotheosis of Cocteau's artistic output as well as the stage at which he was most confident in handling the design of a film soundsc
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BOARO, ERIC. "EVIDENCE OF THE PRACTICAL APPLICATION OF SOLFEGGIO PATTERNS IN THE MANUSCRIPT FOR THE 1707 NEAPOLITAN PERFORMANCE OF LA FEDE TRADITA E VENDICATA BY GASPARINI AND VIGNOLA." Eighteenth Century Music 18, no. 1 (2021): 171–84. http://dx.doi.org/10.1017/s1478570620000421.

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The last two decades have seen the opening of several new paths in eighteenth-century musicology, and Robert O. Gjerdingen has opened one of these: schema theory. Schemata are ‘stock musical phrases employed in conventional sequences’ that function as harmonic, melodic and rhythmic frameworks for musical passages. Evidence of such schematic thinking has emerged through related studies on partimento and solfeggio. Solfeggio practice of the time manifests a schematic way of thinking about music, being mostly based on simple hexachordal patterns which, as studies progressed, could be embellished
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Nikiforov, Konstantin. "From Tito to Milošević: from Brezhnev to Gorbachev." Slavic Almanac, no. 1-2 (2024): 479–86. http://dx.doi.org/10.31168/2073-5731.2024.1-2.25.

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S. Selinić’s monograph examines six years of Serbian history – from the death of the long-time ruler of Yugoslavia J. Broz Tito to the establishment of the new Serbian leader S. Milošević in power. This was a time of numerous crises – in the economy, politics, and in the Serbian autonomous region of Kosovo. New trends in Serbian journalism, fiction and scientific literature were especially pronounced, where a wave of criticism of Tito’s legacy began to rise. The taboo was lifted from previously prohibited topics – Ustashs, Chetniks, Naked Island. Serbian criticism of what previously was see
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17

Kim, Jeongseob. "Opert’s Pioneering Aspects and Insights as a ‘Korean Music Critic’ introduced Western Music to Josen during the Its Opening Period." Academic Association of Global Cultural Contents 55 (May 31, 2023): 21–36. http://dx.doi.org/10.32611/jgcc.2023.5.55.21.

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German merchant Ernst Jacob Oppert(1832~1903), the mastermind of the “Opert Incident” (It refers to his theft of the royal family’s tomb) has been a rash aggressor and traitorous figure in Korean history. It has also been almost entirely negatively evaluated as a very ambitious merchant who tried to monopolize business by pushing through trade pressure and provided the Joseon government with the pretext of severe Catholic persecution. Unlike this previous evaluation, as a result of this study that analyzed Opert’s wrritten records of Korean music in his travelogue, the need for his re-evaluati
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18

Comensoli (book editor), Viviana, Paul Stevens (book editor), and Stephen Guy-Bray (review author). "Discontinuities: New Essays on Renaissance Literature and Criticism." Renaissance and Reformation 34, no. 3 (1998): 93–95. http://dx.doi.org/10.33137/rr.v34i3.10822.

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19

Kupets, Lyubov A. "“New Ballet Criticism” (1993–2003) About “Soviet” Ballet: Forms of Cultural Recycling." Problemy muzykal'noi nauki / Music Scholarship, no. 4 (December 2023): 22–34. http://dx.doi.org/10.56620/2782-3598.2023.4.022-034.

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In post-Soviet Russia ballet criticism, similar to opera criticism, has an almost 30-year-old history, but the period perceived as the brightest and most significant is the first period, spanning the 1990s and the early part of the first decade of the 21st century. For this New Ballet Criticism (as it has been labelled by Vadim Gaevsky), as a part of New Russian Music Criticism (as defined by Olga Manulkina and Pavel Gershenzon), a number of features have become normative: provocative styles and titles, a demythologization of works and of choreographers, the use of comparisons with mass cultur
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20

Jiamrattanyoo, Arthit. "Singing Crimes, Rhyming News: Folksong Newsprints, Horror Sensibilities, and the Rise of Sensationalist Mass Media in Siam, 1920s–1940s." MANUSYA: Journal of Humanities 27, no. 1 (2024): 1–26. https://doi.org/10.1163/26659077-20242722.

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Abstract The proliferation of print media in early-twentieth-century Siam coincided with the rising popularity of folk vocal music. By the 1920s, certain styles of folk balladry were appropriated by urban writers for news reportage and sociopolitical criticism with doses of sensationalization. Published in periodicals and chapbooks, this popular literature was characterized by its versification of true crimes and its typical focus on the figure of the criminal or the ghost. My article examines this hybrid genre of news entertainment at the nexus of a modern structure of the horror experience,
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Rusu-Persic, Dalia. "Critical reception of late 19th century Iași-based music. Alexandru Flechtenmacher." Artes. Journal of Musicology 18, no. 1 (2018): 190–206. http://dx.doi.org/10.2478/ajm-2018-0012.

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Abstract In late 19th-century periodicals, music criticism captured only a few details on the composition techniques, the structural organization, the rhythmic-melodic or vocal and stage interpretation of various performances. The press shed light on these pieces only at an informative level, mentioning titles, composers, and interpreters and even omitting some details due to, on the one hand, the authorities’ indifference to the musical phenomenon and, on the other hand, the editors’ sheer ignorance of particular stylistic or musical language features. However, the attempts made by the person
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GOSSETT, PHILIP. "Source Studies and Opera History." Cambridge Opera Journal 21, no. 2 (2009): 111–18. http://dx.doi.org/10.1017/s0954586710000030.

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Twenty years of Cambridge Opera Journal: in view of the journal's place in the discipline, the occasion seemed worth marking. When Roger Parker and Arthur Groos founded Cambridge Opera Journal in 1989, it offered the first forum to the musical community for serious opera criticism that took into account changing orientations in literary studies and seriously engaged with ideology, reception history, and representations of race, class and gender. Subsequent editors – Mary Hunter, Mary Ann Smart, and Emanuele Senici – continued to foster this wide intellectual perspective and to engage with an e
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Veksler, Yulia S. "New music in post-1918 Austria and Germany: from revolt to consolidation." Contemporary Musicology, no. 2 (2020): 75–93. http://dx.doi.org/10.56620/2587-9731-2020-2-075-093.

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The year 1918 opens a new political era as well as a new period in the history of art. It is associated with the promotion and strengthening of new music, which was accepted by the public only after the First World War. After the "heroic years" of the 1910s, new music gradually formed its own secessionist culture in the post-war period. It gave the right to compose new music as well as an opportunity to perform, listen, and evaluate it. The article covers the activities of several local new music societies in Vienna, Berlin, and Dresden (Schoenberg Society for Private Musical Performances, J.
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Gray, Rosemary. "The Music under the Stone: A Reading of Alex La Guma’s The Stone Country." Commonwealth Essays and Studies 23, no. 2 (2001): 47–53. http://dx.doi.org/10.4000/1248v.

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This paper recognizes the critical divide occasioned by Alex La Guma’s The Stone Country, providing examples of theoretical positioning from the Formalist and Marxist schools, respectively. In a re-reading of the text, motivated by the author’s own metapoetic stance, it argues for the opening up of new ground in the study of South African literary sociology and proffers ‘psycho-history’ as an additional – even newer – critical tool to set alongside conventional textual analysis and literary criticism, in an attempt to explain the significance of ‘the music under the stone’ of imprisonment in a
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25

Hadjimichael, Theodora A. "Aristophanes’ Bacchylides: Reading Birds 1373–1409." Greek and Roman Musical Studies 2, no. 1 (2014): 184–210. http://dx.doi.org/10.1163/22129758-12341258.

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AbstractThe significance of Aristophanes in the history of ancient literary criticism cannot be doubted. Equally undoubted is also the dismissive attitude that he appears to have towards the musical and poetic innovations of the late-fifth century BC. This position of his becomes essential when one considers the manner in which he treats the appraised canonical lyric poets and the contemned representatives of the New Dithyramb. This paper is concerned with the reading specifically of Bacchylides in Aristophanes. It argues in favour of the use of Bacchylides’ Ode 5 to Hieron inBirds1373-1409 as
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Savenko, Svetlana Savenko. "Stravinsky and Russian Music of the 20th Century." Musicological Annual 43, no. 2 (2007): 93–98. http://dx.doi.org/10.4312/mz.43.2.93-98.

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The discussion of this important question presupposes two different aspects: the first one is connected with the perception of Stravinsky’s music in his fatherland, the second with the influence of his music in the specific sense of the word. The most important stations of the perception of Stravinsky: 1. 1910–1920. Stravinsky’s works were regularly performed in Russia during this period. The reaction of the audience and the press was various and partly controversial. 2. End of the 30’s to the middle 1950’s. In this period Stravinsky’s music has almost disappeared from the USSR concert life. I
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Miller, Kiri. "Americanism Musically: Nation, Evolution, and Public Education at the Columbian Exposition, 1893." 19th-Century Music 27, no. 2 (2003): 137–55. http://dx.doi.org/10.1525/ncm.2003.27.2.137.

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The Columbian Exposition (the World's Fair in Chicago, 1893) was intended to represent the entire progress of human history, with American civilization as its culminating triumph. The Exposition celebrated the four-hundredth anniversary of Columbus's discovery of the New World; it restaged that discovery in myriad ways: from the display of ““savage races”” on the Midway to the construction of an emergent American middle class as civilization's newest noble savages, hungry for education. Music was an integral part of the Exposition. America's musical elite took an active role in the fair's prom
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Wu, Xiaoyu, Zhun Zhao, Jinxi Zhao, Tian Xie, and Zihang Jason Huang. "A Study on the Correlation Between Third-wave Feminism and the Riot Grrrl Movement in the 1990s in the United States by Analyzing Bikini Kill and Bratmobile." Communications in Humanities Research 7, no. 1 (2023): 105–13. http://dx.doi.org/10.54254/2753-7064/7/20230811.

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The main goal of this paper is to dive into the 1990s and try to understand the interrelation between third-wave feminism and the musical and political movement, Riot Grrrl, through careful analysis of two representative bands of the movement. With the understanding established, the paper would then try to analyze the reasons why the movement was ephemeral. Bikini Kill and Bratmobile, two specific bands symbolic of the Riot Grrrl movement would be investigated to appreciate the values of the movement with an analysis of their songs lyrics and live performances. Another close look at the mainst
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Selim, Samah. "Toward a New Literary History." International Journal of Middle East Studies 43, no. 4 (2011): 734–36. http://dx.doi.org/10.1017/s0020743811000973.

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The past twenty years witnessed a dramatic transformation in Arabic literature studies in the United States. In the early 1990s, the field was still almost exclusively a satellite of area studies and largely bound by Orientalist historical and epistemological paradigms. Graduate students—even those wishing to focus entirely on modern literature—were trained to competence in the entire span of the Arabic literary tradition starting with pre-Islamic times, and secondary research languages were still rooted in the philological tradition of classical scholarship. The standard requirement was Germa
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Li, Yang. "European trends in Chinese music of the “New Wave” of the 20th - early 21st centuries." PHILHARMONICA. International Music Journal, no. 3 (March 2024): 1–10. http://dx.doi.org/10.7256/2453-613x.2024.3.70775.

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The article describes the generation of Chinese composers of the period of «Opening up and Reform», who are usually called the «Class of 1978». This historical moment, which determined the turn of Chinese new music into the possibility of interaction with the European avant-garde, is described from the perspective of the most prominent composers of the generation: Chen Yi, Tang Dun, Guo Wenjing. The article defines the trajectories of new music, which Chinese composers then follow, their musical reference points, initial reliance on the classical-romantic European tradition, following new traj
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WHITTALL, ARNOLD. "New Opera, Old Opera: Perspectives on Critical Interpretation." Cambridge Opera Journal 21, no. 2 (2009): 181–98. http://dx.doi.org/10.1017/s0954586710000078.

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Twenty years of Cambridge Opera Journal: in view of the journal's place in the discipline, the occasion seemed worth marking. When Roger Parker and Arthur Groos founded Cambridge Opera Journal in 1989, it offered the first forum to the musical community for serious opera criticism that took into account changing orientations in literary studies and seriously engaged with ideology, reception history, and representations of race, class and gender. Subsequent editors – Mary Hunter, Mary Ann Smart, and Emanuele Senici – continued to foster this wide intellectual perspective and to engage with an e
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32

Khanh, Pham Tiet. "Enhancing Human Resources for the Conservation and Promotion of Cultural Values of Khmer Folk Music in Southern Vietnam." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 10 (December 7, 2022): 69–84. http://dx.doi.org/10.30819/aemr.10-9.

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Khmer folk music in Southern Vietnam is diverse in its forms and mainly serves religious rites and traditional ceremonies. However, with the trend of increasing integration and exchange, and under the strong and constant influence of the wave of Western civilization, the development and popularity of modern audiovisual media, new and attractive music shows on television and social sites, the folk music of the Khmer in the South is coping with a great deal number of difficulties and challenges. Although changing trends are inevitable, we need solutions to continue promoting the values of Khmer
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Gallope, Michael. "Why was this Music Desirable? On A Critical Explanation of the Avant-Garde." Journal of Musicology 31, no. 2 (2014): 199–230. http://dx.doi.org/10.1525/jm.2014.31.2.199.

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In the introduction to his Oxford History of Western Music (2005), Richard Taruskin writes that his account of music history is based in the work of individual people, their statements, and their actions, as opposed to the power of ideas, teleologies, and romantic attachments to style criticism. He also claims that a “true history” of music can overcome the survey genre by offering causal explanations of historical events. In his discussion of the Cold War avant-garde, however, Taruskin points the way toward a slightly different kind of historiography by employing what I call a critical explan
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Fenlon, Iain. "Women and Music in Sixteenth-Century Ferrara. Laurie Stras. New Perspectives in Music History and Criticism. Cambridge: Cambridge University Press, 2018. xxiv + 392 pp. $99.99." Renaissance Quarterly 73, no. 3 (2020): 1096–98. http://dx.doi.org/10.1017/rqx.2020.190.

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Hofman, Ana. "Introduction to the Co-edited issue “Music, Affect and Memory Politics in Post-Yugoslav space”." Southeastern Europe 39, no. 2 (2015): 145–64. http://dx.doi.org/10.1163/18763332-03902001.

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The power of music to bring people across newly established national borders even during the ethnic conflict and dissolution of socialist Yugoslavia has been particularly appealing to scholars. Reflecting on the complex relationship between the affective, the aural, and the political, this issue points out the limits of existing interpretative discourses of music and memory in post-Yugoslav spaces, which underplay the lived intensity of the sensory experiences, emotional investment, and the affective technologies of remembering the past. The authors here argue that the emphasis on the social a
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Samson, Jim. "The Virtuoso Liszt. By Dana Gooley. pp. xvi + 280. New Perspectives in Music History and Criticism. (Cambridge University Press, Cambridge, 2004. £45. ISBN 0-521-83443-0.)." Music and Letters 86, no. 4 (2005): 645–46. http://dx.doi.org/10.1093/ml/gci117.

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Bestley, Russ. "The Top of the Poppers sing and play punk." Punk & Post Punk 8, no. 3 (2019): 399–421. http://dx.doi.org/10.1386/punk_00006_1.

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By the mid-1970s, the music industry had a long history of accommodating and recuperating teenage rebellion, and punk’s defiant message of radical change also offered new opportunities for commercial enterprise. A rush to sign new bands who could be (broadly) associated with punk and the concomitant shift towards ‘new-wave’ styles led to a degree of UK chart success for a number of groups. The inclusion of punk and new-wave songs on a series of low-budget compilations featuring cover versions of contemporary hits strikes a particularly discordant tone with punk’s self-styled image of a break w
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Emmery, Laura. "Made in Yugoslavia: Studies in Popular Music." Musicological Annual 57, no. 1 (2021): 271–82. http://dx.doi.org/10.4312/mz.57.1.271-282.

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Made in Yugoslavia: Studies in Popular Music (edited by Danijela Špirić Beard and Ljerka Rasmussen) is a fascinating study of how popular music developed in post-World War II Yugoslavia, eventually reaching both unsurpassable popularity in the Balkans and Eastern Europe, and critical acclaim in the West. Through the comprehensive discussion of all popular music trends in Yugoslavia − commercial pop (zabavna-pop), rock, punk, new wave, disco, folk (narodna), and neofolk (novokomponovana) − across all six socialist Yugoslav republics, the reader is given the engrossing socio-cultural and politic
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Cohen, Debra Rae. "Noise/Music: A History by Paul Hegarty�No Wave by Marc Masters�No Wave: Post-Punk Underground New York 1976-1980 by Thurston Moore and Byron Coley�New York Noise: Art and Music of the New York Underground 1978-88 Photos by Paula Court." Journal of Popular Music Studies 21, no. 3 (2009): 304–9. http://dx.doi.org/10.1111/j.1533-1598.2009.01206.x.

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Taylor, Benedict. "Sullivan, Scott andIvanhoe: Constructing Historical Time and National Identity in Victorian Opera." Nineteenth-Century Music Review 9, no. 2 (2012): 295–321. http://dx.doi.org/10.1017/s1479409812000316.

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Arthur Sullivan's Walter Scott-based operaIvanhoe, despite attaining great success at its 1891 premiere, has since quickly fallen from musicological grace. Substantive criticism of this work in the twentieth century has concentrated on the static, tableau-like dramaturgy of the opera, a lack of dramatic coherence, and its undeniably conservative musical language. Taking its bearings from such criticisms this paper explores Sullivan's problematicmagnum opusfrom the perspective of its relationship with time, understood from multiple levels – his opera's musical-dramaturgical, historical, and mus
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Maes, Francis. "Tchaikovsky, Onegin, and the Art of Characterization." Arts 13, no. 3 (2024): 82. http://dx.doi.org/10.3390/arts13030082.

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Tchaikovsky enjoyed composing Yevgeni Onegin. He expressed his fulfillment in a famous letter to Sergey Taneyev. What could his enthusiasm convey about the content of the project? Music criticism has taken Tchaikovsky’s words as proof for the thesis that the opera is connected to autobiographical circumstances. In this mode of thinking, the quality of Tchaikovsky’s music is the result of the composer’s identification with the subject matter. Despite the objection of several Tchaikovsky scholars, the autobiographical paradigm remains very much alive in the reception of Tchaikovsky’s music. As a
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Kramer, Lawrence. "Culture and musical hermeneutics: The Salome complex." Cambridge Opera Journal 2, no. 3 (1990): 269–94. http://dx.doi.org/10.1017/s0954586700003281.

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From Flaubert to Richard Strauss, male artists in late nineteenth-century Europe were fascinated by the figure of Salome. This fascination, indeed, amounted to a genuine craze. One representation sparked another: J.-K. Huysmans fantasised about paintings by Gustave Moreau; Oscar Wilde expanded on Huysmans; Aubrey Beardsley illustrated Wilde. Fine editions of Wilde's Salome with Beardsley's illustrations remained cult objects well into the twentieth century. In general, the Salome craze, like the science and medicine of its day, sought to legitimise new forms of control by men over the bodies a
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Fulka, Josef. "Lévi-Strauss, Schaeffer, Wagner: hudební struktura mýtu." Teorie vědy / Theory of Science 31, no. 2 (2009): 119–40. http://dx.doi.org/10.46938/tv.2009.19.

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The aim of the present paper is to analyse briefly the complicated references to musical composition in the work of Claude Lévi-Strauss. In his monumental tetralogy entitled Mythologiques, Lévi-Strauss considers the musical composition as a paradigm for structural analysis of myths. In this respect, the author compares Lévi-Strauss’ position with that of Pierre Schaeffer whose project of the “concrete music” is strongly criticised by Lévi-Strauss. In the second part of the text, Lévi-Strauss’ structural analysis of Wagner’s operas are examined, as well as the criticism ad dressed to Lévi-Strau
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FRY, KATHERINE. "Variations on the Musical Sublime." Journal of the Royal Musical Association 147, no. 2 (2022): 645–53. http://dx.doi.org/10.1017/rma.2022.23.

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It can sometimes seem as if musicology is perpetually running late. At least, that is the impression that emerges from two new histories of music and the discourse of the sublime in European culture and aesthetics. Both books stress an imbalance between music and other scholarly fields as a premise for revisiting the long history of the sublime, charting its rise to prominence in the late-seventeenth century with the reception of Peri Hupsous (On Sublimity, attributed to the Greek critic Longinus), to its dominant place in British, German, and French aesthetics and criticism in the late-eighte
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Smethurst, James. "“Git Way Inside Us, Keep Us Strong”: Sterling Brown, Black Power, and Black Arts." Langston Hughes Review 30, no. 1 (2024): 28–36. https://doi.org/10.5325/langhughrevi.30.1.0028.

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ABSTRACT This article considers the lasting impact of Sterling Brown’s poetry, criticism, and pedagogy on the culturally influenced politics and politics-infused expressive culture of the Black Power, Black Arts, and Black Studies movements. To a large degree what Brown bequeathed to Black Arts and Black Power was a way of thinking about Black cultural memory and a tradition of Black popular struggle in the sense of the struggle of a people for self-determination as expressed by the Black folk in art and culture. Brown’s work as a poet, critic, and teacher also left a lasting imprint on the Bl
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Abramov, Roman N., and Alexander V. Voinkov. "Nostalgia of Sound: The Social and Cultural Phenomenon of the “Soviet Wave” Music Community." Čelovek 35, no. 1 (2024): 178–93. http://dx.doi.org/10.31857/s0236200724010127.

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Nostalgia for the late Soviet past takes various forms and is intertwined in complex ways with global trends to look to the past for inspiration in creating new examples of mass culture. New generations of those who were born and raised after the collapse of the Soviet system are being introduced to nostalgic reminiscences. The article analyzes the socio-cultural phenomenon of electronic music Soviet Wave, which combines the stylistics of the late Soviet popular culture and contemporary electronic music. This phenomenon can be understood as post-nostalgia for the late Soviet, since it involves
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Ann Owens, Jessie. "Music and the Myth of Arcadia in Renaissance Italy. Giuseppe Gerbino. New Perspectives in Music History and Criticism. Cambridge: Cambridge University Press, 2009. x + 446 pp. $133." Renaissance Quarterly 68, no. 2 (2015): 733–34. http://dx.doi.org/10.1086/682514.

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Mišina, Dalibor. "“Spit and Sing, My Yugoslavia”: New Partisans, social critique and Bosnian poetics of the patriotic." Nationalities Papers 38, no. 2 (2010): 265–89. http://dx.doi.org/10.1080/00905990903517801.

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As “music of commitment,” in the period from the late 1970s to the late 1980s rock music in Yugoslavia had an important purpose of providing a popular-cultural outlet for the unique forms of socio-cultural critique that engaged with the realities and problems of Yugoslav society. The three “music movements” that embodied the new rock'n'roll spirit – New Wave, New Primitives, and New Partisans – used rock music to critique the country's “new socialist culture,” with the purpose of helping to eliminate the disconnect between the ideal and the reality of socialist Yugoslavia. This paper examines
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Glinternik, Eleonora M. "Russian Design Graphics in Art Studies of the 19th–21st Centuries." Vestnik of Saint Petersburg University. Arts 13, no. 1 (2023): 166–87. http://dx.doi.org/10.21638/spbu15.2023.108.

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The article is devoted to the historiographic problem of domestic design graphics in the history of Russian art. The analysing sources are structured in accordance with the main stages of the development of graphic design in Russia. This approach allows to visually trace the evolution of art history in the context of the corresponding cultural and historical era. In chronological order, the article examines the following periods: 18th — early 20th century, an era that can be called the protodesign period; 1920s–1930s, a period of active development of a new professional model, interrupted for
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Beaton, Roderick, John Bennet, Eleni Kallimopoulou, Panagiotis Poulos, and Chris Williams. "POPULAR MUSIC OF THE GREEK WORLD: A NOTE FROM THE ORGANISERS." Annual of the British School at Athens 115 (October 26, 2020): 401–2. http://dx.doi.org/10.1017/s0068245420000143.

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In May 2019 the British School at Athens hosted an international conference on popular music of the Greek world. The conference aimed to explore and evaluate the diversity of Greek music apparent in the rich variety of local traditions and in the richness of urban popular music both established and emerging, and to examine its causes from broader musical, sociological and artistic perspectives. Rather than focus on particular forms, such as traditional folk music, rebetika, or the ‘new wave’ of the 1960s exemplified by the international success of composers such as Hadjidakis and Theodorakis,
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