Journal articles on the topic 'Radicalism and music'
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1
Raditya, Michael HB. "Mengartikulasikan Relasi Musik dengan Radikalisme." Jurnal Studi Pemuda 5, no. 1 (August 9, 2018): 386. http://dx.doi.org/10.22146/studipemudaugm.37119.
Abstract:
This article deals with relation between music and radicalism. In fact, religion and politics are more related with radicalism. In art perspective, visual art was more related with radicalism rather than music position—especially in Indonesia. In Indonesia music had minor relation with radicalism. According this fact, i would like to explore about music with radicalism with link with several songs, genres, and moda of production—especially relate with definition of radicalisme was rooted movement. The result that i got so far is songs, genres, and mode of production relate with counter-culture. Through counter-culture, radicalism movement that used by music can be running with a different portion, inter alia: change old system to new system, and deal with daily activity as a counter. This result made me more brightly to articulate that pathern and logic of radicalism not only about practical measured, but relate with ideology things.
2
Brar, Dhanveer Singh. "‘James Brown’, ‘Jamesbrown’, James Brown: Black (music) from the getup." Popular Music 34, no. 3 (September 8, 2015): 471–84. http://dx.doi.org/10.1017/s0261143015000379.
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AbstractThe following article addresses the question of the blackness and radicalism of James Brown's musical performances during what was arguably the peak of his career, between 1964 and 1971. Using analytical frameworks from the fields of black studies, performance studies and cultural theory, this article presents an argument for listening to Brown's music in terms of the modalities of rupture. The activity of rupture is tracked through the preface to his autobiography, the stage performance he developed in the early part of his career, and the experiments in rhythm he orchestrated with his band in 1964. The article culminates in a close listening of the 1971 record ‘Super Bad’ as the aesthetic height of a black radicalism Brown was producing through his music.
3
Warnaby, John. "A New Left-Wing Radicalism in Contemporary German Music?" Tempo, no. 193 (July 1995): 18–26. http://dx.doi.org/10.1017/s0040298200004277.
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‘Communism is dead’, crowed a recent Prime Minister, little realizing that the shaky condition of capitalism would precipitate her downfall in short order. ‘Socialist art is a phenomenon of the past’, pronounced many post-modernist critics, who equated creative expressions of radical politics with a modernist aesthetic they had already consigned to their re-interpretation of history. Yet as the developed economies totter from one crisis to the next, interspersed with stock market upheavals or corruption scandals, and the ‘new world order’ fails to materialize, a new left-wing idealism is beginning to assert itself in the work of several German composers, and the growing number of discs of their music testifies to the existence of a substantial international audience for their output. It is a movement of considerable diversity, but also genuine sophistication, for it takes account of the limitation of modernism, and is not averse to encompassing expressions of radicalism from the ‘romantic’ era, where appropriate. Thus, it does not shun post-modernism, but incorporates those features which have not been sucked into the new world chaos, or into the prevalent nostalgia, usually associated with the banner of ‘pluralism’. Above all, the new radicalism reaffirms certain fundamental truths, respected by socialism, which have been overlooked both by postmodernists and proponents of the ‘new world order’. It also asserts the importance of artistic integrity at a time when consumerism is undermining creative values.
4
O’Connell, John Morgan. "Review Essay: “Free Radical: Music, Violence and Radicalism”." Journal of Popular Music Studies 33, no. 1 (March 1, 2021): 155–62. http://dx.doi.org/10.1525/jpms.2021.33.1.155.
5
Cloonan, Martin. "What is Popular Music Studies? Some observations." British Journal of Music Education 22, no. 1 (March 2005): 77–93. http://dx.doi.org/10.1017/s026505170400600x.
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Popular Music Studies (PMS) is now taught in over 20 higher education institutions (HEIs) in the UK and numerous others across the world. This article outlines the constituent parts of PMS in the UK and questions its status as a discipline in its own right. It concludes by arguing that, having established itself, PMS will need to deal with two key pressures in modern academic life – those of conducting research and widening participation. In the former instance, PMS might have to be pragmatic, in the latter lies potential for radicalism.
6
Whittall, Arnold. "NICHOLAS MAW AND THE MUSIC OF MEMORY." Tempo 63, no. 250 (October 2009): 2–6. http://dx.doi.org/10.1017/s0040298209000321.
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Back in the early 1960s, followers of new music in Britain soon became aware that the future would not be entirely dictated by the innovative radicalism of Princeton or Darmstadt – or even by such iconoclastic Brits as Peter Maxwell Davies and Harrison Birtwistle. And anyone inclined to dismiss Nicholas Maw's Scenes and Arias, on its first version's Proms première in August 1962, as a nostalgic pseudo-Delian wallow, was put right by Anthony Payne's enthusiastic contextualization of Maw in this journal a couple of years later. In Payne's analysis, Scenes and Arias triumphantly avoided rambling romanticism, demonstrating a ‘post-expressionist language’ at ‘a new pitch of intensity’, as well as ‘the composer's exceptional feeling for the movement inherent in atonal harmony’.
7
McManus, Laurie. "Feminist Revolutionary Music Criticism and Wagner Reception." 19th-Century Music 37, no. 3 (2014): 161–87. http://dx.doi.org/10.1525/ncm.2014.37.3.161.
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Abstract Histories of progressive musical politics in mid-nineteenth-century Germany often center on the writings of Richard Wagner and Franz Brendel, relegating contributors such as the feminist and author Louise Otto (1819–95) to the periphery. However, Otto's lifelong engagement with music, including her two librettos, two essay collections on the arts, and numerous articles and feuilletons, demonstrates how one contemporary woman considered the progressive movements in music and in women's rights to be interrelated. A staunch advocate of Wagner, Otto contributed to numerous music journals, as well as her own women's journal, advising her female readers to engage with the music of the New German School. In the context of the middle-class women's movement, she saw music as a space for female advancement through both performance and the portrayals of women onstage. Her writings offer us a glimpse into the complex network of Wagner proponents who also supported women's rights, at the same time providing evidence for what some contemporary conservative critics saw as a concomitant social threat from both Wagnerian musical radicalism and the emancipated woman.
8
Davies, Helen. "All rock and roll is homosocial: the representation of women in the British rock music press." Popular Music 20, no. 3 (October 2001): 301–19. http://dx.doi.org/10.1017/s0261143001001519.
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The British rock music press prides itself on its liberalism and radicalism, yet the discourses employed in music journalism exclude women from serious discussion both as musicians and as fans. In particular, the notion of credibility, which is of vital importance to the ‘serious’ rock music press, is constructed in such a way that it is almost completely unattainable for women.The most important and influential part of the British music press was until recently its two weekly music papers, Melody Maker (MM) and the New Musical Express (NME), both published by IPC magazines. The NME, launched in 1949, contains reviews, concert information and interviews with performers and describes itself as ‘a unique blend of irreverent journalism and musical expertise’ (www.ipc.co.uk). MM, which started life in 1926 as a paper for jazz musicians, had similar content but a greater emphasis on rock, as opposed to pop, music. It was relaunched in 1999 as a glossy magazine, before ceasing publication or, as IPC put it, merging with the NME, in December 2000.
9
Kosmecka, Agnieszka. "Polityczność muzyki — (nad)użycia." Studia nad Autorytaryzmem i Totalitaryzmem 42, no. 2 (January 18, 2021): 247–54. http://dx.doi.org/10.19195/2300-7249.42.2.12.
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Niniejszy artykuł jest recenzją książki amerykańskiego muzykologa Jonathana Pieslaka pod tytułem Radicalism & Music. An Introduction to the Music Cultures of al-Qai’da, Racist Skinheads, Christian-Affilated Radicals, and Eco-Animal Rights Militants. Praca ukazała się w 2015 roku i stanowi ważne studium porównawcze kultur muzycznych czterech radykalnych grup: Al-Kaidy, rasistowskich skinheadów, chrześcijańskiego radykalizmu oraz ugrupowań walczących o prawa zwierząt i prawa ekologiczne. To ważna pozycja z perspektywy nie tylko muzykologicznej, lecz także politologicznej i społecznej. Obnaża bowiem status muzyki w ramach jasno określonych grup społecznych. Pieslak niezwykle klarownie określił taktykę metodologiczną; jego badania bazują przede wszystkim na pracy wewnątrz interesujących go społeczności. Wnioski zaprezentowane w książce oparł na wyczerpujących rozmach z członkami radykalnych grup, które definiowały i opisywały pre-ferencje oraz mody muzyczne panujące w ich obrębie. Dostrzeżony przez Pieslaka problem dotyczy potencjalności ludzkiej natury, to jest tego pierwiastka absolutnego, jednostkowego zła, który pragnie się zagłuszyć przez uczestnictwo w kulturze. Radykalizm jest zjawiskiem występującym w każdym miejscu na świecie, może pojawić się w niemal każdej społeczności. Nie jest więc cechą danej cywilizacji, co Pieslak słusznie dostrzega, analizując różne przykłady społeczno-politycznych skrajności. Książka Radicalism & Music. An Introduction to the Music Cultures of al-Qai’da, Racist Skin-heads, Christian-Affilated Radicals, and Eco-Animal Rights Militants stanowi studium procesów dehumanizacji, upodlenia i upokorzenia muzyki, która traci status sztuki wysokiej na rzecz skrajnej utylitarności. Muzyka służy bowiem reżimom i radykalizmom, których nie interesuje artyzm i piękno egzystencji, a jej skrajnie utylitarny wymiar. Amerykański badacz interesuje się przy tym kon-fliktami zbrojnymi prowadzonymi przez Stany Zjednoczone na Bliskim Wschodzie. Patrzy jednak na istotne problemy współczesnego Zachodu z wrażliwością muzyka-kompozytora, świadomego politycznego zaangażowania własnego kraju. Omawiana pozycja trafnie diagnozuje aktualne procesy dokonujące się w ramach współczesnych społeczeństw.
10
Reuben, Federico. "Imaginary Musical Radicalism and the Entanglement of Music and Emancipatory Politics." Contemporary Music Review 34, no. 2-3 (May 4, 2015): 232–46. http://dx.doi.org/10.1080/07494467.2015.1094221.
11
Putt, Alastair. "Louis Andriessen La Commedia, Barbican Hall, London." Tempo 70, no. 277 (June 10, 2016): 87–88. http://dx.doi.org/10.1017/s0040298216000048.
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In what would become known as the Notenkrakersactie, a group of composers, Louis Andriessen amongst them, famously disrupted a Concertgebouw Orchestra concert in 1969, protesting its Establishment politics and unwillingness to engage with the younger generation of Dutch firebrands. Nearly half a century later, Andriessen is a recipient not only of commissions from said orchestra but also of what is arguably the most prestigious (and certainly the most lucrative) composition prize in the world, the Grawemeyer Award. There is no great irony here, of course – music history is littered with examples of iconoclasts whose originality disoriented contemporary opinion, not to mention angry young men whose radicalism mellowed with age – but the case of Andriessen is certainly striking.
12
Mulloy, D. J. "Radicalism and Music: An Introduction to the Music Cultures of al-Qa’ida, Racist Skinheads, Christian-affiliated Radicals, and Eco-animal Rights Militants." Terrorism and Political Violence 31, no. 3 (March 28, 2019): 639–40. http://dx.doi.org/10.1080/09546553.2019.1589865.
13
Stow. "Radicalism and Music: An Introduction to the Music Cultures of al-Qa'ida, Racist Skinheads, Christian-Affiliated Radicals, and Eco-Animal Rights Militants." Journal for the Study of Radicalism 11, no. 2 (2017): 204. http://dx.doi.org/10.14321/jstudradi.11.2.0204.
14
van der Linden, Bob. "Music, Theosophical spirituality, and empire: the British modernist composers Cyril Scott and John Foulds." Journal of Global History 3, no. 2 (July 2008): 163–82. http://dx.doi.org/10.1017/s1740022808002593.
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AbstractThis article deals with the life and work of the early twentieth-century British modernist composers Cyril Scott and John Foulds, in the context of British national music and ‘imperial culture’ at large. Through a discussion of their Theosophical spirituality, Indian musical exoticism, and modernist aesthetics (for all of which they became outsiders to the British music establishment), it tentatively investigates their ideas as part of an ‘alternative’ ideological cluster, which equally influenced British ‘imperial culture’. Furthermore, it discusses the role of Theosophists (such as Annie Besant, Margaret Cousins, and Rukmini Devi) in Indian nationalism and the making of modern South Indian music. This situates the cases of Scott and Foulds within Theosophy as a global movement, and illustrates how cosmopolitan radicalism, Western self-questioning, modernist aesthetics, and anti-establishment thinking linked up with the emergence of non-Western anti-imperial nationalism through an intricate network of personal relationships in metropolis and colony.
15
JONES, RHYS. "BEETHOVEN AND THE SOUND OF REVOLUTION IN VIENNA, 1792–1814." Historical Journal 57, no. 4 (November 12, 2014): 947–71. http://dx.doi.org/10.1017/s0018246x14000405.
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ABSTRACTBeethoven the revolutionary is fading from history. Ossified by the Romantic tradition and, under the pressure of recent revision, reconsidered as conservative and prone to power worship, Beethoven's music has been drained of its radical essence. Yet his compositions also evoked the sonic impact of revolution – its aesthetic of natural violence and terrifying sublime – and so created an aural image of revolutionary action. Through stylistic appropriations of Luigi Cherubini and others, Beethoven imported the rhetorical tropes of French revolutionary composition to the more culturally conservative environment of Vienna. But where the music of revolutionary Paris accompanied concerted political action, the Viennese music that echoed its exhortative rhetoric played to audiences that remained politically mute. This inertia was the result of both a Viennese mode of listening that encouraged a solely internalized indulgence in revolution, and a Beethovenian musical rhetoric that both goaded and satisfied latent political radicalism. Far from rallying the public to the figurative barricades, then, the radical content of Beethoven's music actually helped satiate – and thereby stymie – the outward expression of rebellion in Vienna. This article is a bid to reaffirm the revolutionary in Beethoven.
16
Bingham, Judith, Brian Ferneyhough, Robin Holloway, Nicholas Maw, Christopher Rouse, David Schiff, and Kurt Schwertsik. "Richard Strauss: ready for the Millennium?" Tempo, no. 210 (October 1999): 2–6. http://dx.doi.org/10.1017/s0040298200007117.
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Fifty years after his death, Richard Strauss remains a towering presence in the international concert and operatic repertoire — a firmly established master who remains ever controversial for the role he played as man and artist in the development of German music: as likely to be admired for the radicalism of his early works as to be dismissed for the supposed conservatism of his later ones. But what does this inescapable figure represent to today's composers? Inspiration, irrelevance or awful warning? Are there still fresh lessons to be learned from Strauss? Can he be seen, in any sense, anew? Here seven composers give an idea of what Strauss means to them, either in general or in terms of a single work. Brian Femeyhough's view of Salome was originally written for BBC Music magazine, and is reprinted from there by their permission, while David Schiffs contribution, also reproduced by kind permission of its original publishers, was originally part of a larger article in the New York Times revaluing 20th-century masters and entitled ‘Measuring the Heroes in Music's Valhal’
17
Herrmann, Mitchell. "Unsound Phenomenologies: Harrison, Schaeffer and the sound object." Organised Sound 20, no. 3 (November 16, 2015): 300–307. http://dx.doi.org/10.1017/s1355771815000229.
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As Jonty Harrison himself acknowledges, a significant body of acousmatic music exists which has, directly or indirectly, challenged aspects of the Schaefferian theory from which acousmatic music first developed (Harrison 1995). Few pieces, however, have so clearly and deliberately confronted Schaeffer’s notion of the ‘sound object’ as Harrison’sUnsound Objects. Harrison does more than merely reject Schaeffer’s definition of the sound object through the use of expanded compositional strategies. Rather, he both employs Schaeffer’s methodology and subverts it, systematically demonstrating the potential and the limitations of Schaeffer’s epoché and its product, the sound object. The result is what might be aptly termed the ‘unsound object’: a sonic entity which both demonstrates and defies Schaeffer’s ideals, and exemplifies the rich ambiguities which can arise from the compositional exploitation of referentiality and association, in addition to the intrinsic, morphological characteristics emphasised within Schaeffer’s reduced listening. Throughout his engagement with Schaefferian theory, however, Harrison never abandons the fundamental musical radicalism at the heart of Schaeffer’s project: positing ‘concrete sound material’, rather than ‘abstract concept’, as the basis for the language of electroacoustic music (Chion 1983: 37).
18
Carrasco, Clare. "The Unlike Pair." Journal of Musicology 37, no. 2 (2020): 158–96. http://dx.doi.org/10.1525/jm.2020.37.2.158.
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Between 1919 and 1923 Arnold Schoenberg’s Chamber Symphony, op. 9 (1906) and Franz Schreker’s Chamber Symphony (1916) were repeatedly programmed together on public concerts in Germany. Critics reviewing these and other postwar performances often framed the two works in a distinctive and, by today’s standards, surprising way: they aligned Schoenberg’s Chamber Symphony with an “expressionist” and Schreker’s Chamber Symphony with an “impressionist” musical aesthetic. With roots in prewar German critical and historical writing, impressionism and expressionism functioned as multifaceted, contextually contingent concepts in postwar music criticism. They bore not only music-stylistic but also psychological, national, and racial implications, thus serving as important mechanisms through which critics could engage music in broader cultural and political debates. Even as critics writing after the Great War almost universally—if certainly reductively—aligned Schreker’s Chamber Symphony with impressionism and Schoenberg’s Chamber Symphony with expressionism, they fiercely disagreed about the relative cultural value of these contrasting orientations. Schoenberg and Schreker were thereby implicated in discussions that related their music to pressing contemporary questions of political radicalism, national identity, and Jewishness. Critical reception of postwar performances of this “unlike pair” of chamber symphonies thus documents a consequential yet neglected chapter in the conceptual history of musical “impressionism” and “expressionism”: a chapter in which German-language critics first connected the two terms in a complex, politically laden relationship.
19
Cole, Ross. "Vernacular Song and the Folkloric Imagination at the Fin de Siècle." 19th-Century Music 42, no. 2 (2018): 73–95. http://dx.doi.org/10.1525/ncm.2018.42.2.73.
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This article foregrounds discrepancies between vernacular singing in England and the work of London’s Folk-Song Society during the 1890s. Figures such as Lucy Broadwood, Kate Lee, and Hubert Parry acted as gatekeepers through whom folk culture had to pass in order to be understood as such. Informed by colonialist epistemology, socialist radicalism, and literary Romanticism, what may be termed the “folkloric imagination” concealed the very thing it claimed to identify. Folk song, thus produced, represents the popular voice under erasure. Situated as the antidote to degeneration, burgeoning mass consumer culture, and escalating urbanization, the folk proved to be the perfect tabula rasa upon which the historiographical, political, and ethnological fantasies of the fin de siècle could be inscribed. Positioned as a restorative bulwark against the shifting tides of modernity, the talismanic folk and their songs were temporal anachronisms conjured up via the discursive strategies that attempted to describe them. Increased attention should hence be paid to singers such as Henry Burstow and the Copper brothers of Rottingdean in order to rescue their histories from the conceptual apparatus of folk song.
20
Burke, Patrick. "Rock, Race, and Radicalism in the 1960s: The Rolling Stones, Black Power, and Godard'sOne Plus One." Journal of Musicological Research 29, no. 4 (October 27, 2010): 275–94. http://dx.doi.org/10.1080/01411896.2010.513322.
21
Ngai, Mae M. "On the Proletarian Identity of “A Woman Dressed as an Enormous Beetle”." International Labor and Working-Class History 67 (April 2005): 22–25. http://dx.doi.org/10.1017/s0147547905000025.
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A set of politics that uses rhetoric, imagery, music, and performance to promote interests that are distinctively and explicitly identified with the working class, Burgmann productively suggests, might revitalize the labor movement. Yet the effort to apply lessons from “identity politics” to “class politics” reproduces two problems in contemporary radicalism. First, by reducing the movements of ethno-racial minorities, women, and gays and lesbians to “identity politics” Burgmann underestimates those movements' claims to civil rights, human rights, socioeconomic improvement, and their general democratic nature. Second, the use of “class” to explain the antiglobalization movement is anachronistic and inadequate to the task of understanding radical politics today.
22
Wolters-Fredlund, Benita. "Radicalism & Music: An Introduction to the Music Cultures of al-Qa’ida, Racist Skinheads, Christian-Affiliated Radicals, and Eco-Animal Rights Militants by Jonathan R. Pieslak." Notes 73, no. 3 (2017): 529–31. http://dx.doi.org/10.1353/not.2017.0011.
23
Demidenko, Sergey V., and Anastasia A. Kutuzova. "The Transformation of Radical Islam in a Post-Industrial Society." RUDN Journal of Political Science 22, no. 4 (December 15, 2020): 690–712. http://dx.doi.org/10.22363/2313-1438-2020-22-4-690-712.
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In a post-industrial society, radical Islam has undergone significant evolutionary changes, that contributed to its transformation from a religious ideology to a political one. The key element of the updated doctrine was the idea of creating a world Islamic state - caliphate - through global jihad. This article explores a new stage in the history of the phenomenon of Islamic radicalism, which has developed outside the Muslim world, where it has acquired features of a specific subculture. Global jihad is gaining popularity among young Muslims in Europe, the US, and Southeast Asia. A variety of cultural manifestations of Islamism, united by the term jihadi-cool, form an attractive image of a Salafist-jihadists through a special manner of clothing, new types of music (jihad rap and jihad rock), etc. Members of this subculture tend to join terrorist organizations, spread radical ideas among young people and attract new supporters. One of the most important causes of the radicalization of Muslims in Europe and the Americas is considered to be the complex socio-economic and cultural preconditions created by Western policies towards the States of the Middle East and the local Muslim diaspora. As part of the research, a historical-genetic analysis of the evolutionary transformations of Islamic radicalism has been conducted. The statistical method has been used to track the number of terrorist acts in the EU and the USA. Content analysis has been applied in the article in order to examine lyrics of jihad-rap musical compositions. The interdependence of jihad-rap popularity and the general interest in the ideology of jihad has been assessed based on the analysis of statistics of search queries. Biographical methods have been used to study the relationship between belonging to a jihadist subculture and joining radical Islamic organizations. The results of the study demonstrate, first of all, the high adaptability of Islamic radicalism to the changing conditions of the global world. Secondly, they indicate the specific evolution of a phenomenon that gradually overcomes sectarian differences. And third, they note increasing prevalence of this destructive doctrine in Europe, USA, South and Southeast Asia. All the results confirm that Islamic radicalism is not a local phenomenon, but a real threat to global political stability.
24
PLATOFF, JOHN. "John Lennon, ““Revolution,”” and the Politics of Musical Reception." Journal of Musicology 22, no. 2 (2005): 241–67. http://dx.doi.org/10.1525/jm.2005.22.2.241.
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ABSTRACT The Beatles recorded two starkly different musical settings of John Lennon's controversial 1968 song ““Revolution””: One was released as a single, the other appeared on the White Album (as ““Revolution 1””). Lennon's lyrics express deep skepticism about political radicalism, and the single, with its lines ““But when you talk about destruction/…… you can count me out,”” incited rage among critics and activists on the Left. Lennon appears less opposed to violent protest in ““Revolution 1””——recorded first, though released later——where he sang ““you can count me out——in.”” The reception of ““Revolution”” reflected a focus on the words and their apparent political meanings, largely ignoring the musical differences between the two recordings of the song. Moreover, the response to ““Revolution”” had much to do with public perceptions of the Beatles. Their rivals the Rolling Stones, seen as a more radical alternative voice, released the equally political ““Street Fighting Man”” at virtually the same moment in 1968. The much more favorable public reaction to the latter had at least as much to do with the way the bands themselves were perceived as with differences between the songs.
25
Drott, Eric. "Free Jazz and the French Critic." Journal of the American Musicological Society 61, no. 3 (2008): 541–81. http://dx.doi.org/10.1525/jm.2008.61.3.541.
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Abstract From the mid-1960s to the early 1970s, free jazz was the subject of considerable public interest in France. The present article examines the conditions that fueled enthusiasm for American avant-garde jazz, focusing on the politicization of discourse surrounding the ‘new thing.’ Critics hostile to the movement felt that it undermined jazz's claim to universality, a cornerstone of postwar attempts to valorize the genre in the French cultural sphere. Yet the tendency to identify free jazz with various forms of African American political radicalism presented no less of a challenge for the movement's advocates. By constructing an image of free jazz that stressed its irremediable difference from the norms and values of European culture, writers were compelled to find alternative ways of relating it to contemporary French concerns. A reading of Philippe Carles and Jean-Louis Comolli's text Free Jazz Black Power shows how the authors' attempt to reinscribe African American cultural nationalism as an expression of transnational anticolonial struggle not only helped bring free jazz closer to the French experience, but also served as a way of working through the unresolved legacies of colonialism.
26
Bodek, Richard. "Red Song: Social Democratic Music and Radicalism at the End of the Weimar Republic." Central European History 28, no. 2 (June 1995): 209–27. http://dx.doi.org/10.1017/s0008938900011651.
Abstract:
Germany's interwar Social Democratic movement was anything but the monolithic structure often presented in the literature. Indeed, the standard teleology—which portrays the movement as conservative and petit bourgeois, doing its best to fend off Nazism, but ultimately not up to the task—obscures more than it illuminates. It imposes a top-down frame on the Social Democratic Party (SPD), that characterizes it and its affiliates as an undifferentiated mass, making a nuanced analysis difficult. As is true of most political movements, interwar German Social Democracy presented multiple faces to the world. While its core was a political party that worked to win elections, the SPD also formed the heart of an alternative culture, one that allowed its largely working-class membership to take part in cultural and social functions, as well as in political meetings to express class solidarity.
27
Beckwith, John. "Brian Cherney: Collaborator and Composer." Personal Views 37, no. 1 (May 17, 2019): 19–29. http://dx.doi.org/10.7202/1059884ar.
Abstract:
This article includes comments on some of Cherney’s compositions, and an account of his work on Weinzweig: Essays on His Life and Music (Waterloo: Wilfrid Laurier University Press, 2011), of which he and John Beckwith were the co-editors. Cherney’s approach to composing equips him for dealing with a wide range of musical questions, and his exceptional command of both German and Jewish history (as evidenced, for example, in his University of Toronto dissertation on the Bekker-Pfitzner controversy of 1919, and in his essay on the sources of Weinzweig’s radicalism in the 2011 publication) has in turn suggested avenues of exploration in his creative work. Further observations touch on his gift for parody and musical in-jokes.
28
Lahusen, Christian. "The aesthetic of radicalism: the relationship between punk and the patriotic nationalist movement of the Basque country." Popular Music 12, no. 3 (October 1993): 263–80. http://dx.doi.org/10.1017/s0261143000005717.
Abstract:
Our time has come Tio/ I'm Basque and I'm proud/ That's enough Tio, say it loud/I'm Basque and I'm proud! (Negu Gorriak, 1989)The relationship between popular music and social movements does not in itself constitute an exceptional phenomenon. However, Basque Radical Rock (as Basque punk has come to be called) has emerged as a peculiar phenomenon of the history of political mobilisation in Euskadi (the Basque name for Basque country). This peculiarity is due to the fusion of an eminently anti-establishment music of anglo-saxon origin with a nationalist patriotic movement. The ‘alliance’ between these two such diverse spheres is the theme of this article. Such an alliance is of interest because it reveals how the discursive and organisational linkages which formed Basque radical rock defined a common struggle shared by punks and nationalist activists.
29
Dietsche, Sarah J. "Jonathan Pieslak. 2015. Radicalism and Music: An Introduction to the Music Cultures of al-Qa’ida, Racist Skinheads, Christian-Affiliated Radicals, and Eco-Animal Rights Militants." Perfect Beat 19, no. 1 (December 17, 2018): 94–96. http://dx.doi.org/10.1558/prbt.37463.
30
ROBINSON, SUZANNE. "Smyth the anarchist: fin-de-siècle radicalism in The Wreckers." Cambridge Opera Journal 20, no. 2 (July 2008): 149–80. http://dx.doi.org/10.1017/s0954586709002456.
Abstract:
AbstractThis essay explores the roots of Ethel Smyth's opera The Wreckers (1903–04), composed to a libretto by H. B. Brewster, in fin-de-siècle debates on the legal and religious regulation of morality. Taking into account Smyth's jaundiced use of Cornish history, the contribution of Brewster's professed individual anarchism and sexual libertarianism, and Smyth's willingness to parody and manipulate musical conventions in order to reinforce radical ideals, it views the work both as a reflection of its authors' engagement with modernism and as a herald of Smyth's subsequent contribution to militant feminism.
31
HEILE, BJÖRN. "Darmstadt as Other: British and American Responses to Musical Modernism." Twentieth-Century Music 1, no. 2 (September 2004): 161–78. http://dx.doi.org/10.1017/s1478572205000162.
Abstract:
There is currently a backlash against modernism in English-language music studies. While this vogue of ‘modernism bashing’ is ostensibly based on progressive ideologies, it is dependent on a one-sided perception of musical modernism which it shares with earlier conservative disparagements. Of central importance in this respect is the ‘othering’ of musical modernism as an essentially continental European phenomenon in the ‘Anglosphere’, where it is consistently suspected of being a ‘foreign import’ – by conservative commentators in the first part of the twentieth century, just as by their ‘new-musicological’ successors at the turn of the twenty-first.The example of the Anglo-American reception of the so-called Darmstadt school, usually regarded as quintessentially modernist, demonstrates how certain partial understandings and downright prejudices are handed down. For instance, the critical commonplace of Darmstadt’s presumed obsession with such values as technical innovation, structural coherence, and a scientistic rationalization of composition says more about those who coined it – mostly American critics who were uncomfortable with the aesthetic as well as the political radicalism of Darmstadt – than about the music itself. It is often precisely this depoliticized, sanitized construction of modernism that present-day critics have attacked, apparently unaware that this has always been a misrepresentation. By thus tracing some common misapprehensions in the Anglo-American reception of musical modernism, I want to argue for a fuller recognition of modernism’s essentially dialectical nature.
32
Keefe, Simon P. "A Complementary Pair: Stylistic Experimentation in Mozart's Final Piano Concertos, K. 537 in D and K. 595 in B-flat." Journal of Musicology 18, no. 4 (2001): 658–84. http://dx.doi.org/10.1525/jm.2001.18.4.658.
Abstract:
Given the chronological separation of Mozart's final piano concertos, K. 537 and K. 595, from his extraordinary sequence of 15 piano concertos of 1782-86 (K. 413-503), it is no surprise that critics have continually stressed stylistic and affective departures from the composer's norm. But the stylistic significance of these final concertos remains fundamentally misunderstood. In spite of sharply contrasting characteristics——ostentatious virtuosity in K. 537 and carefully measured writing in K. 595——these works are, in fact, kindred spirits. In both concertos Mozart experiments with the introduction of abrupt juxtapositions of harmonically contrasting material while avoiding the outright opposition of piano and orchestral forces evident in his earlier Viennese first movements; with piano figuration, omitting it when expected or reconstituting it at important formal junctures; and with unexpected thematic and harmonic disjunctions. While Mozart's harmonic experimentation in K. 537 and 595 can be partially explained in general stylistic terms, given similarities to passages in the last three symphonies, and considered representative of the "bizarre tonal sequences" and "striking modulations" often remarked upon by Mozart's contemporaries, it cannot be attributed to a fundamental shift in the composer's "world view." Rather, the complementary nature of radicalism and innovation in the two first movements in particular——K. 537 in the orchestral and solo expositions and recapitulation and K. 595 in the development——reveals these final concertos as thoroughly pragmatic and systematic essays in stylistic reinvention.
33
Hankins, Sarah. "Unfit for Subjection: Mental Illness, Mental Health, and the University Undercommons." Current Musicology 107 (January 27, 2021): 153–57. http://dx.doi.org/10.52214/cm.v107i.7843.
Abstract:
This colloquy, by graduate-student-led collective Project Spectrum, attempts to map out existing discussions around inclusion and equity in music academia, with a specific focus on identifying and analyzing the structures in academia that work against minoritized and historically excluded scholars.
Sarah Hankins shares thoughts on mental illness, arguing that it is a gap in our discourse. Hankins asks us to bear witness to experiences of those who boldly declare that they are “unfit” for the pipeline—“unfit” to survive the pipeline, to have access to the pipeline, and for the so-called promises at the end of the pipeline. Following the work of Black studies, queer of color critique, Black radicalism, Afropessimism, and especially the writings of Stefano Harney and Fred Moten, Hankins’s intervention in this colloquy demands pause in academia’s system of perpetual motion.
34
Strier (book author), Richard, and Helen Wilcox (review author). "Resistant Structures. Particularity, Radicalism, and Renaissance Texts." Renaissance and Reformation 33, no. 3 (July 1, 1997): 81–83. http://dx.doi.org/10.33137/rr.v33i3.11362.
35
Milin, Melita. "Sounds of lament, melancholy and wilderness: The Zenithist revolt and music." Muzikologija, no. 5 (2005): 131–44. http://dx.doi.org/10.2298/muz0505131m.
Abstract:
The aim of writing this article is to analyze how the articles published by Zenith magazine (1921-1926) reflected the role of modern music within the framework of Zenithism - a movement relating to Dadaism and Futurism. The founder of the movement Ljubomir Micic and the Croatian composer Josip Slavenski both settled in Serbia and shared similar views concerning the Zenithist role of art. They sought to create a novel artistic expression free from Western influence, rooted in primitive and intrinsic creative forces of Eastern, and more specifically, Balkan peoples. Nevertheless, the intellectual sophistication and radicalism of their ideas differed somewhat whereas Micic was inclined towards experiment and provocation (i.e. his announcement of a Balkan "Barbarogenius"), Slavenski's aim was to revise and transform the archaisms preserved in old layers of folk music (primarily that of the Balkans), thus yielding an original modernist language. When in 1924 Micic moved from Zagreb to Belgrade, Slavenski was already there, only to leave for Paris in winter of the same year and remain there until the following summer. This may explain Slavenski's single contribution to Zenith, a piece composed before he met Micic. Zenith's articles on music included a positive account of Prokofiev, whose works were seen as representative of the movement's intentions. The article was an abridged translation of Igor Glebov's (pseudonym of Boris Asafiev) text printed in V'esc (in German). Micic himself was the author of another contribution - a concert review, which served as an opportunity to express his views on contemporary music, one being an appraisal of Stravinsky whose music was felt to correspond to Zenithist aesthetics. He was labeled a musical 'Cubist', who composed music of 'paradox and simultaneity'. In the same article Antun Dobronic (a nationalist Croatian composer) was criticised on the basis that his music was not 'Balkanized' enough. Micic, who obviously had little or no musical education, was unable to find any musical critics who would adhere to his views. Several other articles in Zenith, such as concert reviews and literary texts with reference to both old and new composers, shed more light on the spirit of the movement and contribute to our understanding of it.
36
Black, Joel E. "Ferlinghetti on Trial." Boom 2, no. 4 (2012): 27–43. http://dx.doi.org/10.1525/boom.2012.2.4.27.
Abstract:
In spring 1957 the Juvenile Division of the San Francisco Police Department seized copies of Howl and charged the poem's publisher, Lawrence Felinghetti, with obscenity. Tried in summer 1957 and defended by the American Civil Liberties Union, Ferlinghetti was exonerated by a District Court judge. Scholars typically place the Howl trial at the beginning of a cultural and social revolution that flourished in the 1960s or place it amid the personal lives and rebellions of the actors composing the Beat Generation. However, these treatments do not fully consider the ways the prosecution reflected trends in law, shaped debates over juvenile delinquency, and amplified distinctions between legal censorship and public censuring. This paper situates the Howl prosecution amid the regulation of comics, rock music, motion pictures, narcotics in postwar America, to tell a story about California, conservatism, radicalism, and censorship in the Cold War Era.
37
Rebourcet, Séverine. "Can post-religious France exist? Abd Al Malik, Frenchness and Islam." French Cultural Studies 28, no. 1 (January 30, 2017): 28–41. http://dx.doi.org/10.1177/0957155816678744.
Abstract:
This article explores the work of the writer, rapper and slam poet Abd Al Malik, who shook up the music world with his message of religious tolerance in the midst of the suburb riots in France in 2005 and the Charlie Hebdo attack in 2015. It shows how he builds on his religious conversions and revelations to pose challenging questions about Islam, its interpretations, and its relationship with French society. In his essays and novel, he challenges the readiness of France to accept Muslim culture in its national and cultural identity. In his last novel, he tells the story of a converted Muslim frontrunner in a national presidential election and his reception by the French population. Malik campaigns in favour of a post-religious France through his music and through his literary works. He dismantles the idea that Islam is a religion of people of colour and insists on its multi-ethnicity. His ideal post-religious France would be based on acceptability and inclusivity, love and universalism. Malik insists that Islam is not radicalism. According to him the Islamist message that he denounces is based on a narrow and ‘ignorant’ interpretation of Islam, which negates both modernity and the Western world. Malik, as a Sufi Muslim, suggests that Islam actually enables religious practices that embrace deep French values and promote the aspiration to ‘vivre ensemble’.
38
Dyck, Kirsten. "Radicalism and Music: An Introduction to the Music Cultures of al-Qa'ida, Racist Skinheads, Christian-affiliated Radicals, and Eco-animal Rights Militants. By Jonathan Pieslak . 352 pp. Middletown, CT: Wesleyan University Press, 2015." Popular Music 37, no. 1 (December 8, 2017): 144–46. http://dx.doi.org/10.1017/s0261143017000708.
39
Prehara, Kenny, and Rahayu Supanggah. "“TOWARDS GAMELAN POP”." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 12, no. 2 (July 16, 2019): 62–70. http://dx.doi.org/10.33153/dewaruci.v12i2.2528.
Abstract:
ABSTRAK“Towards Gamelan Pop” adalah karya seni musik yang lahir akibat bentuk permasalahan yang sedang populer saat ini, misalnya korupsi, kurangnya kepedulian terhadap lingkungan hidup, radikalisme, tindak pelanggaran hukum, dan kerusakan moral. Fenomena tersebut dikaitkan dengan bentuk musik pop yang sedang diminati oleh banyak kalangan masyarakat. “Towards Gamelan Pop” mengangkat kisah legenda setempat di daerah Kompleks Candi Gedong Songo yaitu Kisah Ramayana dengan tujuan menarik generasi muda untuk mencintai kesenian tradisi nusantara. Karya musik ini memadukan instrumen gamelan dengan gaya bernyanyi pop dan diperankan oleh 6 tokoh, yaitu Rama, Shinta, Rahwana, Wibisana, Hanoman, dan Semar. Karya musik ini dipentaskan di Kompleks Candi Gedong Songo dengan durasi 60 menit yang terbagi dalam sebelas karya lagu, yaitu Rimba Raya, Aku, Satu, Penjara Emas, Hanoman Obong, Petuah yang Dianggap Sampah, Eling lan Waspada, Gerhanamu, Impas, Mandi Api, dan Sigaraning nyawa.Kata kunci : populer, pop, Kisah Ramayana, generasi muda, gamelan.Abstract“Towards Gamelan Pop” is the musical art work form due to the problems that are popular today, such as corruption, the lack of concern towards the environment, radicalism, acts of lawlessness, and moral damage. These phenomena are associated to a form of pop music that is in demand by many people in the community. “Towards Gamelan Pop” lifts the local legends from the Gedong Songo temple complex that is the story of Ramayana, which its purpose is to attract the younger generation to love thetraditional arts of the archipelago. This musical work blends gamelan instruments with pop singing style and performed by six characters, namely Rama, Shinta, Rahwana, Wibisana, Hanoman, and Semar. This musical work is staged in the Gedong Songo complex with a duration of 60 minutes divided into eleven song parts, namely “Rimba Raya” (the Great Jungle), “Aku” (I), “Satu” (One), “Penjara Emas” (the Golden Prison), “Hanoman Obong” (Ignited Hanoman), “Petuah yang Dianggap Sampah” (Unconsidered Wisdom), “Eling lan Waspada” (Keep in Mind and Alert), “Gerhanamu” (Your Eclipse), “Impas” (Breakeven), “Mandi Api” (Bathe in Flames), and “Sigaraning Nyawa” (Soulmate).Keywords: popular, pop, Ramayana Legend, young generation, gamelan.
40
Wikshååland, Stååle. "Elektra's Oceanic Time: Voice and Identity in Richard Strauss." 19th-Century Music 31, no. 2 (November 1, 2007): 164–74. http://dx.doi.org/10.1525/ncm.2007.31.2.164.
Abstract:
Perhaps more than any other opera by Strauss, Elektra is a drama about the sense of hearing. It belongs to the phantasmagoric realm of listening, and it affirms, like few other operas, the power of music alone to fire up the listener's imagination. In this sense, it renders the transitions between its own different layers of reality, between the here and now of Elektra's agony and her reliving of her father's murder at the hands of her mother and her mother's lover, in a way that obscures the borderline between that terrible past and the soon to be horrible present. The article investigates these transitions in the opera. The crime against her father, Agamemnon, has burned itself into her soul, and it directs all her experience afterward. Elektra's retribution of the past injustice is no more than an imagined restoration. Her revenge remains a private matter; it does not resurrect any moral order and does not re-create the basis for a new community. The radicalism of this lack of morality is overwhelming, especially if we consider that Hofmannsthal's libretto departs from Sophocles only on this main point. A different notion of time, articulated through Strauss's music, strikes through the ongoing present, takes hold of it, and becomes predominant. This is the time in which Elektra lives. We witness a strange battle between remembrance and forgetting as Elektra's present actions are driven wholly by the effort to forget the present in order to restore the past. All is in vain, of course, because it is impossible to reverse time. Everything is too late. This belatedness becomes Elektra's destiny. Directors often lean heavily on Elektra's resolution of her predicament in the fulfillment of full-blown revenge, which ends with a going out of time at the very moment when the border between lived real time and fantasy time collapses. Yet what if emphasis were placed elsewhere? The article raises this question as a pressing one, in connection with Peter Konwitschny's staging of Elektra in the new theater of the Royal Danish Opera in Copenhagen, February 2005. In Konwitschny's staging, the decisive event, the precipitating trauma, is no longer, as in Strauss and Hofmannsthal, something that has long since happened when the curtain rises and that rules every succeeding event from an inaccessible point in past time. Instead, the precipitating trauma is drawn into the opera itself. The article tries to show how this interpretation has consequences that change the work. Elektra's destiny does not become less shocking, but rather shocks us in a different manner.
41
Warsah, Idi. "JIHAD AND RADICALISM: EPISTEMOLOGY OF ISLAMIC EDUCATION AT PESANTREN AL-FURQAN IN MUSI RAWAS DISTRICT." Jurnal Ilmiah Islam Futura 21, no. 2 (August 19, 2021): 152. http://dx.doi.org/10.22373/jiif.v21i2.7683.
Abstract:
Jihad and radicalism are often juxtaposed as if jihad is identical to radicalism. Unfortunately, the general public often mistakenly associates Pesantren with radicalism. Islam does not teach radicalism; instead Islam is a religion of peace. The concept of jihad in Islam cannot be identified with religious radicalism because jihad has broad meanings. This study was conducted to find out the epistemology of Islamic education at Pesantren in terms of the issues of jihad and radicalism. This study was conducted at Pesantren Al-Furqon in Musi Rawas district. Pesantren Al-Furqon organized an integrated Islamic school providing education making Islam a basis and guideline in carrying out learning activities and in shaping students’ attitudes and behavior. This study revealed that Islamic education at Pesantren Al-Furqon taught students to behave nobly according to Islamic teachings. Jihad was interpreted as sincere efforts to bring about peace but not in the sense of radicalism.
42
Hall, Dale. "Free Radicals: The Sound of Music." Electrochemical Society Interface 3, no. 4 (December 1, 1994): 13. http://dx.doi.org/10.1149/2.f01944if.
43
ATTON, CHRIS. "Writing about listening: alternative discourses in rock journalism." Popular Music 28, no. 1 (January 2009): 53–67. http://dx.doi.org/10.1017/s026114300800158x.
Abstract:
Abstract‘Alternative’ publications challenge the conventional discourses of rock journalism. In particular, the dominant discourses of authenticity, masculinity and mythology might be countered by publications that emphasise historical and (sub)cultural framing, and that present radicalised ‘spaces of listening’. Using Bourdieu’s field theory to identify autonomous and semi-autonomous sites for rock criticism, the paper compares how a fanzine (the Sound Projector) and what Frith has termed an ideological magazine (the Wire) construct their reviews. The findings suggest that, whilst there is no evidence for an absolute break with the dominant conventions of reviewing, there is a remarkable polyglottism in alternative music reviewing. The paper emphasises differing cultural and social practices in the multiple ways the publications write about music, and argues for the value of such polyglottism.
44
Jamil, M. Mukhsin. "From Hard Rock to Hadrah: Music and Youth Sufism in Contemporary Indonesia." Teosofia 9, no. 2 (November 5, 2020): 275–86. http://dx.doi.org/10.21580/tos.v9i2.7959.
Abstract:
Many studies on Islam in Indonesia usually focus on Islamic movements from social, economic, or political perspective. One missing viewpoint that does not get much attention or even completely ignored is the spiritual life of the Muslim youths. This study would examine and analyze the growth of the Syeikhermania and their attachment to Hadrah music of Majelis Shalawat Ahbab al-Musthofa led by Habib Syeikh Abdul Qadir Assegaf, an Arabic-descent Muslim preacher. Unlike Muslim youth organizations that are enthusiastically active in political movements that tend to be radical, Syeikhermania plays a role in creating harmony and tolerance. They transform spiritually from Hard Rock to Hadrah music. Therefore, this study disclosed the participation of the Muslim youths in the Majelis Shalawat Ahbab al-Musthofa which is motivated by the need for spiritual protection and expressing their identity as Muslim youths in contrast to the liberal and secular cultures on the one hand and fundamentalist and radicalist groups on the other hand.
45
Power, Steph. "Richard Ayres Peter Pan, Wales Millennium Centre." Tempo 69, no. 274 (September 7, 2015): 66–67. http://dx.doi.org/10.1017/s0040298215000406.
Abstract:
The madcap, hallucinatory adventures of J.M. Barrie's Peter Pan would seem to offer the perfect musico-dramatic vehicle for Richard Ayres. His instrumental works and first formal opera, The Cricket Recovers (2005), are gleeful acts of polystylistic sabotage that might themselves hail from Neverland; the former are often wedded to some strange, dramatic scenario, and the latter is a fantasy about a depressive cricket featuring a would-be tree-climbing elephant. In Ayres's scores, conventional structures, instrumentation and musical materials are juxtaposed, shaken up and hurled about like toys with the accidental radicalism of the child who innocently asks the questions that adults dare not.
46
Oehlschlägel, Reinhard. "Radicality and contradiction: Variations on Mathias Spahlinger." Contemporary Music Review 12, no. 1 (January 1995): 85–91. http://dx.doi.org/10.1080/07494469500640071.
47
KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 76, no. 1-2 (January 1, 2002): 117–85. http://dx.doi.org/10.1163/13822373-90002550.
Abstract:
-James Sidbury, Peter Linebaugh ,The many-headed Hydra: Sailors, slaves, commoners, and the hidden history of the revolutionary Atlantic. Boston: Beacon Press, 2000. 433 pp., Marcus Rediker (eds)-Ray A. Kea, Herbert S. Klein, The Atlantic slave trade. Cambridge, U.K.: Cambridge University Press, 1999. xxi + 234 pp.-Johannes Postma, P.C. Emmer, De Nederlandse slavenhandel 1500-1850. Amsterdam: De Arbeiderspers, 2000. 259 pp.-Karen Racine, Mimi Sheller, Democracy after slavery: Black publics and peasant radicalism in Haiti and Jamaica. Gainesville: University Press of Florida, 2001. xv + 224 pp.-Clarence V.H. Maxwell, Michael Craton ,Islanders in the stream: A history of the Bahamian people. Volume two: From the ending of slavery to the twenty-first century. Athens: University of Georgia Press, 1998. xv + 562 pp., Gail Saunders (eds)-César J. Ayala, Guillermo A. Baralt, Buena Vista: Life and work on a Puerto Rican hacienda, 1833-1904. Chapel Hill: University of North Carolina Press, 1999. xix + 183 pp.-Elizabeth Deloughrey, Thomas W. Krise, Caribbeana: An anthology of English literature of the West Indies 1657-1777. Chicago: University of Chicago Press, 1999. xii + 358 pp.-Vera M. Kutzinski, John Gilmore, The poetics of empire: A study of James Grainger's The Sugar Cane (1764). London: Athlone Press, 2000. x + 342 pp.-Sue N. Greene, Adele S. Newson ,Winds of change: The transforming voices of Caribbean women writers and scholars. New York: Peter Lang, 1998. viii + 237 pp., Linda Strong-Leek (eds)-Sue N. Greene, Mary Condé ,Caribbean women writers: Fiction in English. New York: St. Martin's Press, 1999. x + 233 pp., Thorunn Lonsdale (eds)-Cynthia James, Simone A. James Alexander, Mother imagery in the novels of Afro-Caribbean women. Columbia: University of Missouri Press, 2001. x + 214 pp.-Efraín Barradas, John Dimitri Perivolaris, Puerto Rican cultural identity and the work of Luis Rafael Sánchez. Chapel Hill: University of North Carolina Press, 2000. 203 pp.-Peter Redfield, Daniel Miller ,The internet: An ethnographic approach. Oxford: Berg Publishers, 2000. ix + 217 pp., Don Slater (eds)-Deborah S. Rubin, Carla Freeman, High tech and high heels in the global economy: Women, work, and pink-collar identities in the Caribbean. Durham NC: Duke University Press, 2000. xiii + 334 pp.-John D. Galuska, Norman C. Stolzoff, Wake the town and tell the people: Dancehall culture in Jamaica. Durham NC: Duke University Press, 2000. xxviii + 298 pp.-Lise Waxer, Helen Myers, Music of Hindu Trinidad: Songs from the Indian Diaspora. Chicago: University of Chicago Press, 1998. xxxii + 510 pp.-Lise Waxer, Peter Manuel, East Indian music in the West Indies: Tan-singing, chutney, and the making of Indo-Caribbean culture. Philadelphia: Temple University Press, 2000. xxv + 252 pp.-Reinaldo L. Román, María Teresa Vélez, Drumming for the Gods: The life and times of Felipe García Villamil, Santero, Palero, and Abakuá. Philadelphia: Temple University Press, 2000. xx + 210 pp.-James Houk, Kenneth Anthony Lum, Praising his name in the dance: Spirit possession in the spiritual Baptist faith and Orisha work in Trinidad, West Indies. Amsterdam: Harwood Academic Publishers. xvi + 317 pp.-Raquel Romberg, Jean Muteba Rahier, Representations of Blackness and the performance of identities. Westport CT: Bergin & Garvey, 1999. xxvi + 264 pp.-Allison Blakely, Lulu Helder ,Sinterklaasje, kom maar binnen zonder knecht. Berchem, Belgium: EPO, 1998. 215 pp., Scotty Gravenberch (eds)-Karla Slocum, Nicholas Mirzoeff, Diaspora and visual culture: Representing Africans and Jews. London: Routledge, 2000. xiii + 263 pp.-Corey D.B. Walker, Paget Henry, Caliban's reason: Introducing Afro-Caribbean philosophy. New York: Routledge, 2000. xiii + 304 pp.-Corey D.B. Walker, Lewis R. Gordon, Existentia Africana: Understanding Africana existential thought. New York; Routledge, 2000. xiii +228 pp.-Alex Dupuy, Bob Shacochis, The immaculate invasion. New York: Viking, 1999. xix + 408 pp.-Alex Dupuy, John R. Ballard, Upholding democracy: The United States military campaign in Haiti, 1994-1997. Westport CT: Praeger, 1998. xviii + 263 pp.-Anthony Payne, Jerry Haar ,Canadian-Caribbean relations in transition: Trade, sustainable development and security. London: Macmillan, 1999. xxii + 255 pp., Anthony T. Bryan (eds)-Bonham C. Richardson, Sergio Díaz-Briquets ,Conquering nature: The environmental legacy of socialism in Cuba. Pittsburgh: University of Pittsburgh Press, 2000. xiii + 328 pp., Jorge Pérez-López (eds)-Neil L. Whitehead, Gérard Collomb ,Na'na Kali'na: Une histoire des Kali'na en Guyane. Petit Bourg, Guadeloupe: Ibis Rouge Editions, 2000. 145 pp., Félix Tiouka (eds)-Neil L. Whitehead, Upper Mazaruni Amerinidan District Council, Amerinidan Peoples Association of Guyana, Forest Peoples Programme, Indigenous peoples, land rights and mining in the Upper Mazaruni. Nijmegan, Netherlands: Global Law Association, 2000. 132 pp.-Salikoko S. Mufwene, Ronald F. Kephart, 'Broken English': The Creole language of Carriacou. New York: Peter Lang, 2000. xvi + 203 pp.-Salikoko S. Mufwene, Velma Pollard, Dread talk: The language of Rastafari. Kingston: Canoe Press: Montreal: McGill-Queen's University Press. Revised edition, 2000. xv + 117 pp.
48
Kerr, Elizabeth. "John Rimmer and Free Radicals: live electronic music in New Zealand." Contemporary Music Review 6, no. 1 (January 1991): 173–77. http://dx.doi.org/10.1080/07494469100640181.
49
KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 76, no. 3-4 (January 1, 2002): 323–79. http://dx.doi.org/10.1163/13822373-90002540.
Abstract:
-Alan L. Karras, Lauren A. Benton, Law and colonial cultures: Legal regimes in world history, 1400-1900. Cambridge: Cambridge University Press, 2002. xiii + 285 pp.-Sidney W. Mintz, Douglass Sullivan-González ,The South and the Caribbean. Jackson: University Press of Mississippi, 2001. xii + 208 pp., Charles Reagan Wilson (eds)-John Collins, Peter Redfield, Space in the tropics: From convicts to rockets in French Guiana. Berkeley: University of California Press, 2000. xiii + 345 pp.-Vincent Brown, Keith Q. Warner, On location: Cinema and film in the Anglophone Caribbean. Oxford: Macmillan, 2000. xii + 194 pp.-Ann Marie Stock, Jacqueline Barnitz, Twentieth-century art of Latin America. Austin: University of Texas Press, 2001. 416 pp.-Ineke Phaf, J.J. Oversteegen, Herscheppingen: De wereld van José Maria Capricorne. Emmastad, Curacao: Uitgeverij ICS Nederland/Curacao, 1999. 168 pp.-Halbert Barton, Frances R. Aparicio, Listening to Salsa: Gender, latin popular music, and Puerto Rican cultures. Hanover NH: Wesleyan University Press, 1998. xxi + 290 pp.-Pedro Pérez Sarduy, John M. Kirk ,Culture and the Cuban revolution: Conversations in Havana. Gainesville: University Press of Florida, 2001. xxvi + 188 pp., Leonardo Padura Fuentes (eds)-Luis Martínez-Fernández, Damián J. Fernández, Cuba and the politics of passion. Austin: University of Texas Press, 2000. 192 pp.-Eli Bartra, María de Los Reyes Castillo Bueno, Reyita: The life of a black Cuban woman in the twentieth century. Durham NC: Duke University Press, 2000. 182 pp.-María del Carmen Baerga, Felix V. Matos Rodríguez, Women and urban change in San Juan, Puerto Rico, 1820-1868. Gainesville: University Press of Florida, 1999. xii + 180 pp. [Reissued in 2001 as: Women in San Juan, 1820-1868. Princeton NJ: Markus Weiner Publishers.]-Kevin A. Yelvington, Winston James, Holding aloft the banner of Ethiopa: Caribbean radicalism in early twentieth-century America. New York: Verso, 1998. x + 406 pp.-Jerome Teelucksingh, O. Nigel Bolland, The politics of labour in the British Caribbean: The social origins of authoritarianism and democracy in the labour movement. Kingston: Ian Randle; Princeton NJ: Marcus Weiner, 2001. xxii + 720 pp.-Jay R. Mandle, Randolph B. Persaud, Counter-Hegemony and foreign policy: The dialectics of marginalized and global forces in Jamaica. Albany: State University of New York Press, 2001. xviii + 248 pp.-Patrick Bellegarde-Smith, Mary A. Renda, Taking Haiti: Military occupation and the culture of U.S. imperialism, 1915-1940. Chapel Hill: University of North Carolina Press, 2001. xvi + 414 pp.-James W. St. G. Walker, Maureen G. Elgersman, Unyielding spirits: Black women and slavery in early Canada and Jamaica. New York: Garland, 1999. xvii + 188 pp.-Madhavi Kale, David Hollett, Passage from India to El Dorado: Guyana and the great migration. Madison NJ: Fairleigh Dickinson University Press, 1999. 325 pp.-Karen S. Dhanda, Linda Peake ,Gender, ethnicity and place: Women and identities in Guyana. London: Routledge, 1999. xii + 228 pp., D. Alissa Trotz (eds)-Karen S. Dhanda, Moses Nagamootoo, Hendree's cure: Scenes from Madrasi life in a new world. Leeds, UK: Peepal Tree, 2000. 149 pp.-Stephen D. Glazier, Hemchand Gossai ,Religion, culture, and tradition in the Caribbean., Nathaniel Samuel Murrell (eds)-Michiel van Kempen, A. James Arnold, A history of literature in the Caribbean. Volume 2: English- and Dutch- speaking regions. (Vera M. Kuzinski & Ineke Phaf-Rheinberger, sub-eds.).Amsterdam/Philadelphia: John Benjamins, 2001. ix + 672 pp.-Frank Birbalsingh, Bruce King, Derek Walcott: A Caribbean life. New York: Oxford University Press, 2000. ix + 714 pp.-Frank Birbalsingh, Paula Burnett, Derek Walcott: Politics and poetics. Gainesville: University Press of Florida, 2001. xiii + 380 pp.-Jeanne Garane, Micheline Rice-Maximin, Karukéra: Présence littéraire de la Guadeloupe. New York: Peter Lang, 1998. x + 197 pp.-Jeanne Garane, Marie-Christine Rochmann, L'esclave fugitif dans la littérature antillaise: Sur la déclive du morne. Paris: Karthala, 2000. 408 pp.-Alasdair Pettinger, Lizabeth Paravisini-Gebert ,Women at sea: Travel writing and the margins of Caribbean discourse. New York: Palgrave, 2001. x + 301 pp., Ivette Romero-Cesareo (eds)
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Blanes Arques, Luis. "Contexto histórico de la obra del P. Vicente Pérez-Jorge." Anuario Musical, no. 55 (January 24, 2019): 237. http://dx.doi.org/10.3989/anuariomusical.2000.i55.232.
Abstract:
Toda la vida del Padre Vicente Pérez-Jorge se desarrolló en el siglo XX, siglo que se ha distinguido por los cambios radicales producidos en sus fundamentos estéticos y, por ende, en sus sistemas y procedimientos de composición. La creación musical se renovó de tal manera que algunos sectores, como el canto y la música sagrados, quedaron rezagados, adocenados en sus maneras habituales y manteniéndose en sus costumbres tradicionales. Fue el P. Vicente Pérez-Jorge, abierto a todas las corrientes y técnica artísticas modernas, perforador "aprovechado" de vanguardias, luchó durante toda su vida por la expresión de la música eclesiástica con elementos contemporáneos, es decir, que la Iglesia hiciera suyos los procedimientos modernos empleados por los compositores de nuestro siglo, siempre dentro de los criterios propios de la Santa Sede y con un fín único: dignificar la música de los templos y ponerla a la altura de los tiempos actuales.