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Journal articles on the topic 'Wedding music – History and criticism'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Botstein, Leon. "On Criticism and History." Musical Quarterly 79, no. 1 (1995): 1–5. http://dx.doi.org/10.1093/mq/79.1.1.

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2

Botstein, L. "Witnessing Music: The Consequences of History and Criticism." Musical Quarterly 94, no. 1-2 (2011): 1–8. http://dx.doi.org/10.1093/musqtl/gdr001.

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3

Radice, Mark A. "Reader's Guide to Music: History, Theory, Criticism (review)." Notes 58, no. 1 (2001): 66. http://dx.doi.org/10.1353/not.2001.0165.

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4

Hanaghan, Michael. "LATENT CRITICISM OF ANTHEMIUS AND RICIMER IN SIDONIUS APOLLINARIS’ EPISTVLAE 1.5." Classical Quarterly 67, no. 2 (2017): 631–49. http://dx.doi.org/10.1017/s0009838817000696.

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In late c.e. 467 Sidonius Apollinaris journeyed from Lyon to Rome. An account of his journey appears in Epist. 1.5. Sidonius made his way to the city by boat and imperial post horses, arriving during the nuptial celebrations of the Emperor Anthemius’ daughter Alypia and the barbarian potentate Ricimer. The wedding linked Ricimer, who had held significant political power in the interregnum after the death of Libius Severus (461–465), to the new emperor in the West, Anthemius, whom the eastern Roman emperor, Leo I, had just appointed.

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5

Parakilas, James. "The Afterlife of Don Giovanni: Turning Production History into Criticism." Journal of Musicology 8, no. 2 (1990): 251–65. http://dx.doi.org/10.2307/763570.

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Parakilas, James. "The Afterlife of Don Giovanni: Turning Production History into Criticism." Journal of Musicology 8, no. 2 (1990): 251–65. http://dx.doi.org/10.1525/jm.1990.8.2.03a00040.

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7

Pritchard, Matthew. "The Cambridge History of Music Criticism. Ed. by Christopher Dingle." Music and Letters 101, no. 4 (2020): 785–88. http://dx.doi.org/10.1093/ml/gcaa068.

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Majer-Bobetko, Sanja. "Between music and ideologies: Croatian music criticism from the beginning to World War II." Muzyka 63, no. 4 (2018): 55–64. http://dx.doi.org/10.36744/m.344.

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As the Croatian lands were exposed to often aggressive Austrian, Hungarian, and Italian politics until WWI and in some regions even later, so Croatian music criticism was written in the Croatian, German and Italian languages. To the best of our knowledge, the history of Croatian music criticism began in 1826 in the literary and entertainment journal Luna, and was written by an anonymous author in the German language.A forum for Croatian language music criticism was opened in Novine Horvatzke, i.e. in its literary supplement Danica horvatska, slavonska i dalmatinska in 1835, which officially st

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9

[张寻], Zhang Xun. "Understanding an Epic Song of the Hmong in Laos From The Perspective of Oral Composition." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 7 (June 21, 2021): 77–90. http://dx.doi.org/10.30819/aemr.7-6.

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This article looks at an epic song performed by Hmong in Laos from a perspective of oral composition by analyzing a wedding song Leuangtengdong. Through detailed musical and textual transcription, several compositional devices are identified and discussed. My study explores oral composition of the song focusing on its material and structure. I argue that music plays an important role in its oral composition: material-wise, music functions both as formulaic music-text association/unity and by careful music-text interactions; structure-wise, the song is organized in a multi-layered framework rea

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Eitler, Ágnes. "Heritage-Making in the Metropolitan Area. The Case of the “Wedding at Ecser”." Acta Ethnographica Hungarica 65, no. 1 (2020): 81–104. http://dx.doi.org/10.1556/022.2020.00006.

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The paper focuses on the case study of a settlement in the immediate vicinity of the Hungarian capital, which became nationally recognized in the second half of the 20th century through the staging of the community’s wedding customs, known as Wedding at Ecser. Over the decades, the element lifted out of the local lifeworld – and ultimately constructed – has become linked with various community meanings and interpretive structures, through the examination of which the underlying historical, economic, and socio-cultural processes are being presented. Not only has the cultural relic – initially c

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11

Rifkin, Joshua. "The Creation of the Medici Codex." Journal of the American Musicological Society 62, no. 3 (2009): 517–70. http://dx.doi.org/10.1525/jams.2009.62.3.517.

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Once the object of intense musicological debate, the choirbook of early sixteenth-century motets commonly known as the Medici Codex has received little attention in recent years. But a closer look at it suggests the need for reappraisal of some important points. In particular, the widely shared view of the manuscript as a work conceived and executed for the wedding of Lorenzo de' Medici, Duke of Urbino, and the French noblewoman Madeleine de la Tour d'Auvergne at Blois in May 1518 does not withstand scrutiny. An analysis of the scribal hands and other physical features indicates, rather, that

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12

Kramer, Elizabeth. "The Beethoven Violin Sonatas: History, Criticism, Performance (review)." Notes 62, no. 1 (2005): 114–16. http://dx.doi.org/10.1353/not.2005.0098.

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13

Reith, Louis J., and Roger Kuin. "Chamber Music: Elizabethan Sonnet-Sequences and the Pleasure of Criticism." Sixteenth Century Journal 32, no. 1 (2001): 305. http://dx.doi.org/10.2307/2671499.

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14

Dickinson, Peter. "Review: Maestros of the Pen: A History of Classical Music Criticism in America." Music and Letters 83, no. 4 (2002): 631–34. http://dx.doi.org/10.1093/ml/83.4.631.

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15

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

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16

Harrán, Don. "Elegance as a Concept in Sixteenth-Century Music Criticism*." Renaissance Quarterly 41, no. 3 (1988): 413–38. http://dx.doi.org/10.2307/2861755.

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”… et vere sciunt cantilenas ornare, in ipsis omnes omnium affectus exprimere, et quod in Musico summum est, et elegantissimum vident … “Adrian Coclico, Compendium musices (1552)The notion of music as a form of speech is a commonplace. Without arguing the difficult questions whether music is patterned after speech or itself constitutes its own language, it should be remembered that the main vocabulary for describing the structure and content of music has been drawn from the artes dicendi. The present report deals with a small, but significant part of this vocabulary: the term elegance along wi

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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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18

Bloxam, M. Jennifer. "‘La contenance italienne’: the motets on Beata es Maria by Compère, Obrecht and Brumel." Early Music History 11 (October 1992): 39–89. http://dx.doi.org/10.1017/s0261127900001194.

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Musicians have recognised distinct national styles of musical composition and performance for centuries, and even today our understanding of the development of musical style in virtually every period rests in large part on observations of the contact and melding of national idioms. From the suppression and absorption of Gallic chant by Roman plainsong during the time of Charlemagne, through the wedding of French, Italian and German styles accomplished by Bach, to the joining of north Indian classical musical elements with modern avant-garde music by Philip Glass and other minimalist composers,

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

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20

Gervais, Kyle. "AN INTERPOLATION IN CLAUDIAN, DE RAPTV PROSERPINAE 2.343–7." Classical Quarterly 70, no. 1 (2020): 449–53. http://dx.doi.org/10.1017/s0009838820000208.

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In his recent monograph on textual criticism, Richard Tarrant discusses the history, problems and practices of diagnosing interpolations in Latin texts, and persuasively argues for ‘restor[ing] interpolation to the editor's armoury’. In the hopes of better arming future editors, I identify a possible interpolation in the second book of Claudian's De Raptu Proserpinae (= DRP). The passage in question describes the celebrations in the underworld that attend the wedding of Pluto and Proserpina; joining in the holiday mood, the Furies let their snaky hair down to enjoy a drink of wine while they l

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

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22

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

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

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23

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

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

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24

REUL, BARBARA M. "CATHERINE THE GREAT AND THE ROLE OF CELEBRATORY MUSIC AT THE COURT OF ANHALT-ZERBST." Eighteenth Century Music 3, no. 2 (2006): 269–309. http://dx.doi.org/10.1017/s1478570606000613.

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As Empress of Russia, Catherine the Great (1729–1796) shaped not only history in general but also, as a member of its princely family, the history of Anhalt-Zerbst. Drawing upon little known eighteenth-century manuscripts housed at the Landeshauptarchiv of Saxony-Anhalt in Dessau and the Francisceumsbibliothek in Zerbst, this study assesses the impact of Catherine’s marriage in 1745 to Grand Duke Peter of Russia (1728–1762) on musical life at the court of Anhalt-Zerbst during and after the thirty-six-year tenure of Kapellmeister Johann Friedrich Fasch (1688–1758). First the role of music at th

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25

Schellenberg, Annette. "The Description of Solomon’s Wedding: Song 3:6-11 as a Key to the Overall Understanding of the Song of Songs." Vetus Testamentum 70, no. 1 (2020): 177–92. http://dx.doi.org/10.1163/15685330-12341433.

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Abstract This article argues that Song of Songs 3:7-11 is a mocking song about King Solomon and was not originally connected with 3:6. After presenting aspects of 3:7-11 that might convey criticism of Solomon, the thesis is further substantiated by observations showing that taking Solomon as a cipher for the nonroyal human lover or a divine lover does not work in this passage. The article concludes by pointing out some consequences of this analysis for the overall understanding of the Song.

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26

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

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

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27

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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Förster, Hans. "Die johanneischen Zeichen und Joh 2:11 als möglicher hermeneutischer Schlüssel." Novum Testamentum 56, no. 1 (2014): 1–23. http://dx.doi.org/10.1163/15685365-12341444.

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Abstract The Greek term ἀρχή occurs in John 2:11, at the end of the story of the wedding at Cana. Water was changed into wine at this occasion and this is called the “beginning of the signs”. This Greek term—often translated in this context not as “beginning of the signs” but rather as “first sign”—can denote the beginning of a dynamically structured sequence. Elements in the narratives of the various signs seem to build a dynamic structure, thereby assigning each sign a fixed position in a climactic story which ends with the raising of Lazarus. This has consequences for literary criticism of

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

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

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30

Powers, Devon. "Bruce Springsteen, Rock Criticism, and the Music Business: Towards a Theory and History of Hype." Popular Music and Society 34, no. 2 (2011): 203–19. http://dx.doi.org/10.1080/03007761003726472.

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31

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

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

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32

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

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

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33

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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Natambu, Kofi. "Whose Music is it, Anyway?: The Oxford University Press Jazz History/Criticism Series, 1980-Present." Black Scholar 29, no. 4 (1999): 48–51. http://dx.doi.org/10.1080/00064246.1999.11430983.

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

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

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36

Garratt, J. "Music, Criticism, and the Challenge of History: Shaping Modern Musical Thought in Late Nineteenth-Century Vienna. By Kevin C. Karnes." Music and Letters 91, no. 3 (2010): 436–38. http://dx.doi.org/10.1093/ml/gcq028.

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37

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

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

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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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Salgado, Tomas Garcia. "Comment on "Art History and the Criticism of Computer-Generated Images"." Leonardo 29, no. 1 (1996): 82. http://dx.doi.org/10.2307/1576292.

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Mosusova, Nadezda. "The wedding and death of Milos Obilic: From The Fairy’s veil to The Fatherland." Muzikologija, no. 25 (2018): 119–31. http://dx.doi.org/10.2298/muz1825119m.

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The prominent Serbian and Yugoslav composer Petar Konjovic (1883-1970) wrote five operas between 1900 and 1960. Konjovic?s operatic opus represents his homeland and his spiritual spectrum: in the first place, indelible memories of his childhood and youth focused on the Serbian National Theatre in Novi Sad, in particular its heroic repertoire of Serbian literature. Consequently, three out of five of Konjovic?s music dramas are derived from Serbian epic and theatre plays. In addition to Ivo Vojnovic?s Death of the Jugovic Mother, these are Dragutin Ilic?s Wedding ofMilos Obilic and Laza Kostic?s

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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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Fay, Brendan. "Conservative Music Criticism, the Inflation, and Concert Life in Weimar Germany, 1919–1924." Cultural History 6, no. 2 (2017): 141–63. http://dx.doi.org/10.3366/cult.2017.0147.

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In surveying the thirteen crisis-ridden years that Weimar democracy endured from its founding in 1919, perhaps none loom as large as the hyperinflation years spanning 1922–1923. According to many historians, the ‘Great Disorder’ not only destroyed the bonds between different social classes but also shattered Germans’ faith in and commitment to Weimar democracy. At the same time, Germany's cultural conservatives found themselves weathering a ‘cultural crisis’ brought on by the combined forces of artistic and technological innovation. In this article, I argue that our sense of Weimar's crises ha

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Weitz, Shaena B. "Propaganda and Reception in Nineteenth-Century Music Criticism: Maurice Schlesinger, Henri Herz, and the Gazette musicale." 19th-Century Music 43, no. 1 (2019): 38–60. http://dx.doi.org/10.1525/ncm.2019.43.1.38.

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In the mid-1830s, Henri Herz (1803–88) was an internationally renowned pianist, but his reputation today, for the most part, is that of a second-rate musician who wrote trivial variations on opera themes. This enduring picture of Herz was painted first in France in 1834 by the Gazette musicale. The Gazette’s campaign has been understood by modern scholars as a conspicuous moment in a broad aesthetic shift away from French salon music and toward high German Romanticism, and the Gazette has garnered praise for its prescience. But a closer examination of the Gazette’s articles, the events surroun

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Brown, C. "Beethoven and the violin: The Beethoven violin sonatas: history, criticism, performance, ed. Lewis Lockwood and Mark Kroll (Urbana: University of Illinois Press, 2005), 34.95." Early Music 34, no. 2 (2006): 303–4. http://dx.doi.org/10.1093/em/cal010.

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46

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

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

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Widdis, Randy William. "Scale and Context: Approaches to the Study of Canadian Migration Patterns in the Nineteenth Century." Social Science History 12, no. 3 (1988): 269–303. http://dx.doi.org/10.1017/s0145553200018587.

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Picture, if you will, a little Methodist church in a rural setting. The year is 1890. It is the first day in January. Saturday afternoon. The church bell peals a welcome to family and friends celebrating the marriage of John Albert Salsbury and Alberta Effa Edgar. Some arrive on foot and others in horse-drawn vehicles. The horses are tied to the hitching-post and left to munch oats from their feed bags.The people enter the church, and the minister greets each by name. A good turnout. Camden East is a close-knit community, and yet the preacher notes sadly that the congregation is getting smalle

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McLEOD, KEMBREW. "‘*1/2’ a critique of rock criticism in North America." Popular Music 20, no. 1 (2001): 47–60. http://dx.doi.org/10.1017/s0261143001001301.

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As a particular type of gatekeeper, rock critics play a significant role in shaping the representations of artists for an admittedly small, but influential, population, as well as establishing an artist's place in music history. In Sound Effects, Simon Frith (1983) maintains that rock critics are ‘opinion leaders’ and are the ‘ideological gatekeepers’ of the community for which they write. Additionally, I argue that rock critics function as Gramscian ‘organic intellectuals’ who articulate the ideas held by the population of which they are a part (Gramsci 1971, pp. 5-14). The community that roc

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Severn, John R. "Salieri’s Falstaff, ossia Le tre burle and The Merry Wives of Windsor: Operatic Adaptation and/as Shakespeare Criticism." Cambridge Opera Journal 26, no. 1 (2014): 83–112. http://dx.doi.org/10.1017/s0954586713000323.

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AbstractShakespeare’s The Merry Wives of Windsor contains several features that make it unusual within his dramatic output and that thus render problematic the idea of a unified ‘Shakespearean’ canon. Until very recently, literary criticism has either largely ignored or denigrated the play, with a sustained interest in its portrayal of female agency, family life and the natural world only consolidating in the early twenty-first century. However, earlier operatic adaptations, such as Salieri and Defranceschi’s Falstaff, ossia Le tre burle, demonstrate an engagement with those issues which liter

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50

Devine, Kyle. "Imperfect sound forever: loudness wars, listening formations and the history of sound reproduction." Popular Music 32, no. 2 (2013): 159–76. http://dx.doi.org/10.1017/s0261143013000032.

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AbstractThe purpose of this paper is to provide some historical perspective on the so-called loudness war. Critics of the loudness war maintain that the average volume level of popular music recordings has increased dramatically since the proliferation of digital technology in the 1980s, and that this increase has had detrimental effects on sound quality and the listening experience. My point is not to weigh in on this debate, but to suggest that the issue of loudness in sound recording and playback can be traced back much earlier than the 1980s. In fact, loudness has been a source of pleasure

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