Cosmopolitan versus Parochial Irishness in Bernard Shaw's Music Journalism (1877–1894)

Shaw ◽  
2021 ◽  
Vol 41 (2) ◽  
pp. 385
Author(s):  
Clare
Keyword(s):  
Music Journalism

Commentary: A Stroll in the Piazza and a Night at the Opera

2006 ◽  
Vol 36 (4) ◽  
pp. 621-628
Author(s):  
Mary Ann Smart
Keyword(s):  
Nineteenth Century ◽  
National Identity ◽  
Civil Society ◽  
Social Engagement ◽  
Early Nineteenth Century ◽  
National Discourse ◽  
Music Journalism ◽  
The Subject ◽  
Giacomo Leopardi

Giacomo Leopardi was convinced that the willingness of Italians to wallow passively in operatic spectacle was an important reason for Italy's lack of a civil society based on debate and the exchange of opinions. Despite recent proposals that opera and opera going constituted signiªcant means of social engagement and contributed to regional and/or national identity, the preoccupations of early nineteenth-century music journalism suggest that opera existed outside the mainstream of both political and aesthetic debate, and was not yet the subject of a truly vibrant national discourse.

Introduction

2021 ◽  
pp. 1-30
Author(s):  
M.I. Franklin
Keyword(s):  
Case Studies ◽  
Academic Research ◽  
Interdisciplinary Approach ◽  
Analytical Framework ◽  
Advanced Level ◽  
Music Journalism ◽  
Music And Politics ◽  
Music Making ◽  
Musical Knowledge ◽  
Do So

This chapter presents the disciplinary debates and terms of reference informing this exploration of music making in which sampling practices play a fundamental role. It maps out the theoretical and methodological terrain that informs the “close listening” approach to analyzing these works in light of a burgeoning interest from across the spectrum of academic research and music journalism in the interrelationship between music and politics—however these two domains may be defined. Developing earlier work addressing debates about when, and how music and politics may mutually inform one another, this chapter presents the socio-musicological and interdisciplinary approach to examining how this relationship “sounds” in five case studies. The objective is to provide a more refined conceptual lexicon and analytical framework so that reader-listeners can listen to, and so “hear” the respective ‘musicking politics” at stake in each case, and do so in ways that go beyond focusing on lyrical content alone or requiring an advanced level of musical knowledge. This opening chapter and the conclusion (Chapter 7) work together in either direction.

The Brooklyn Listening Project: Using Oral History as a Pedagogical Tool

Collections ◽  
2017 ◽  
Vol 13 (2) ◽  
pp. 143-158
Author(s):  
Colleen Bradley-Sanders
Keyword(s):  
College Students ◽  
Oral History ◽  
Brooklyn College ◽  
Pedagogical Tool ◽  
The Public ◽  
Music Journalism ◽  
The People ◽  
The World ◽  
History Of ◽  
Oral History Interview

The Brooklyn College Listening Project is designed to engage students in active learning through the inclusion of an oral history interview assignment in a variety of humanities courses, including history, English, sociology, music, journalism, and more. The products of these interviews, oral history recordings, are creating an archive of student-generated material. The benefits to the students extend beyond the simple completion of an assignment for a grade. With the diversity of races and cultures at Brooklyn College, students make connections with classmates and interview subjects that might not otherwise occur. As one student commented, “There is more to learn and know about the world, than just the people that you look like.”1 Written by the college archivist, this article examines the history of the still-young program and the difficulty in archiving the recordings and making them available to the public.

scholarly journals Re-Thinking of Popular Culture Studies as Interdisciplinary Subject

1970 ◽  
Vol 26 (1) ◽  
pp. 27-36
Author(s):  
Min Bahadur Pun
Keyword(s):  
Popular Culture ◽  
Science Fiction ◽  
Intellectual History ◽  
Mass Culture ◽  
Pop Music ◽  
Romance Novels ◽  
Class Culture ◽  
Music Journalism ◽  
Wide Range ◽  
Stuart Hall

This paper discusses the emergence of popular culture as an interdisciplinary subject of research. The simplest way to define the term 'popular culture's is a culture widely favored by many people. It refers to beliefs, practices and objects widely shared among people. Some of the examples of popular culture are romance novels, science fiction, photography, pop music, journalism, advertising, television, video, computers, Internet, etc. The study of popular culture entered a new phase in the cultural and intellectual history with the establishment of the Center for Contemporary Cultural Studies (CCCS) led by Richard Hoggart and Stuart Hall. Two things happened to the study of popular culture as an interdisciplinary subject: (1) the study of popular culture has included wide range of issues (2) scholars have intellectual freedom in this field, and they show no interest in establishing clear boundaries around it. Popular culture is always defined in contrast to other conceptual categories such as folk culture, mass culture, dominant culture, and working class culture. Thus, popular culture becomes the 'Other' for them, which largely depends on the context of use. Lastly, the paper discusses the role of popular culture in history, anthropology, sociology and literary theories. In theory, the study of popular culture is always around the debate on postmodernism. It assumes that postmodern culture no longer recognizes the distinction between high culture and popular culture.Key Words: Popular culture; Romance novels; Science fiction; Photography; Pop musicTribhuvan University Journal Vol. XXVI, No. 1, 2009 Page: 27-36

Masculinity and skill acquisition in the adolescent rock band

Popular Music ◽  
1999 ◽  
Vol 18 (1) ◽  
pp. 99-114 ◽  
Author(s):  
Mary Ann Clawson
Keyword(s):  
Skill Acquisition ◽  
Rock Music ◽  
Special Issue ◽  
Music Journalism ◽  
Rock Band ◽  
Women's Participation ◽  
Rolling Stone

In the autumn of 1994, a Rolling Stone special issue on ‘Women in Rock’ proclaimed that ‘A change has come to rock & roll’. This pronouncement – which acknowledged women's traditional under-representation in rock music while consigning it to history – was hardly a new one. The ‘discovery’ that ‘an unprecedented number of female performers were now carving out a substantial place for themselves in the rock world’ has been a recurring staple of music journalism for at least two decades (Garr 1992, p. xi). Yet women's participation in the rock music world continues to be noteworthy, defined by their status as numerical minority and symbolic anomaly. ‘In rock as in life, what is male continues to be perceived as known, normal and natural, whereas what is female is taken to be a mystery in need of explication’ (Udovich 1994, p. 50).

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