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Abstract only
Peter J. Martin

Chap 10 10/7/06 11:54 am Page 205 10 Everyday music Introduction One of the arguments for which Wittgenstein is most celebrated is his contention that linguistic meaning is not inherent in words, phrases, sentences and so on, but depends on the ways in which they are used (1972: 20). At first sight, this seems contrary to commonsense notions of how we communicate, and also to alternative theories of language which are based on the assumption that words represent states of affairs. After all, what could be more straightforward than a sentence like ‘The grey

in Music and the sociological gaze
K. J. Donnelly

3049 Experimental British Tele 16/5/07 08:02 Page 166 10 Experimental music video and television K. J. Donnelly The music video as an aspect of experimental or avant-garde television has received surprisingly little attention in the frequent and wide ranging discussions on the topic. This is particularly surprising since many of the techniques of the avant-garde became evident (and some filmmakers worked) in music video and profoundly altered the way that pop music appeared on television. Considerations of television still suffer from ocularcentric

in Experimental British television
Abstract only
Bob Dylan via Jack Kerouac and Allen Ginsberg
Laurence Coupe

Coupe 03 22/3/07 3 01:06 Page 79 ‘Vision music’: Bob Dylan via Jack Kerouac and Allen Ginsberg In October 1975, Allen Ginsberg and the songwriter Bob Dylan visited the grave of Jack Kerouac. They had stopped off at the Edson Cemetery, Lowell, Massachusetts during the course of Dylan’s tour of the east coast of the United States. He called the tour ‘The Rolling Thunder Revue’, this name being an allusion in general to the ‘freewheeling’, unplanned nature of the enterprise, and in particular to a Cherokee medicine man called Rolling Thunder, who had become

in Beat sound, Beat vision
Notes on the Repertoire
Charles Mueller

The Gothic or “Goth” subculture emerged from Britains punk scene during the early 1980s. The music associated with the movement showed a sophisticated handling of themes and aesthetics associated with Gothicism, proving that the Goth adjective was more than just a fanciful label given to the bands by the music industry and the popular press. In order to gain a greater understanding of what is genuinely Gothic about this body of music, this study investigates Goth from a musicological perspective exploring specific techniques that were used by the artists, and examining the reasons why Gothicism appealed to many British youths during the Thatcher-era.

Gothic Studies
Constructing the televisual pop community in the GDR
Edward Larkey

11 Popular music on East German television: Constructing the televisual pop community in the GDR Edward Larkey Popular music in the GDR media was always subject to intense political scrutiny so that Western influences, if they could not be prevented altogether, would at least be incorporated into discursive structures largely controlled by the ruling Socialist Unity Party (Sozialistische Einheitspartei Deutschlands; SED). Before the 1970s, television programmes were supposed to help develop a musical alternative to capitalist pop music, to distance GDR music

in Popular television in authoritarian Europe
A figurative dance suite
David Cooper

100 8 A dance to the music of Herrmann: a figurative dance suite David Cooper M Prelude y earliest encounter with the music of Bernard Herrmann was in the early 1970s, as a teenager growing up in Belfast who was interested in contemporary music and always on the lookout for the scores of new pieces I could afford to buy. I  discovered by sheer chance the music for Bernard Herrmann’s Echoes for string quartet in Tughan-​Crane’s music shop, a somewhat surprising piece for them to have in stock. It was some time later that I found a coupling of the work on LP

in Partners in suspense
The politics of hope
Author: Sarah Daynes

On the basis of a body of reggae songs from the 1970s and late 1990s, this book offers a sociological analysis of memory, hope and redemption in reggae music. From Dennis Brown to Sizzla, the way in which reggae music constructs a musical, religious and socio-political memory in rupture with dominant models is illustrated by the lyrics themselves. How is the past remembered in the present? How does remembering the past allow for imagining the future? How does collective memory participate in the historical grounding of collective identity? What is the relationship between tradition and revolution, between the recollection of the past and the imagination of the future, between passivity and action? Ultimately, this case study of ‘memory at work’ opens up on a theoretical problem: the conceptualisation of time and its relationship with memory.

Britain 1876–1953

Music played a major role in the life of a global ideological phenomenon like the British Empire. This book demonstrates that music has to be recognised as one of the central characteristics of the cultural imperialism of the late nineteenth and early twentieth centuries. It begins with an account of the imperial music of Sir Edward Elgar and Sir Arthur Sullivan and the establishing of an imperial musical idiom. The book discusses the music composed for or utilized by official occasions: coronations, jubilees, exhibitions, tattoos, Armistice Day and Empire Day. Community singing was also introduced at the Aldershot Military Tattoo in 1927, sponsored by the Daily Express. The book examines the imperial content of a range of musical forms: operetta and ballet, films, music hall songs, ballads, hymns and marches. In one of the scenes depicting ballet, Indian dancing girls are ordered to reveal the riches of the land and the Ballet of Jewels. There were two staples of song in the second half of the nineteenth century: the drawing-room ballad and the music-hall song. Sir Henry Coward was Britain's leading chorus-master, and his 1911 musical world tour with Sheffield choir was the high point of his career. The book concludes with a discussion of practitioners of imperial music: the divas Emma Albani, Nellie Melba and Clara Butt, and the baritone Peter Dawson.

Charles Barr

24 2 Hitchcock, music and the mathematics of editing Charles Barr ‘Construction to me, it’s like music.’ (Hitchcock, 1995: 298) ‘Every piece of film that you put in the picture should have a purpose. It’s like notes of music. They must make their point.’ (Hitchcock, 1995: 290) I am no kind of music expert, and am not equipped to write about music as such, in the manner of other contributors to this volume such as Jack Sullivan, author of a definitive chapter on ‘Hitchcock and Music’ in the recent collection A Companion to Alfred Hitchcock (2011). Instead

in Partners in suspense
Peter J. Martin

Chap 4 10/7/06 11:50 am Page 56 4 Music and manipulation Adorno’s theory of contemporary society begins with the claim of a system integration which has become total; thus he can regard the entire media of the culture industry only as a means of domination and must rate popular forms of art as phenomena of psychical regression. (Honneth, 1995: 81) Introduction The idea that people may be subject to manipulation by music is a familiar one, yet efforts to develop it sociologically soon run into difficulties. For one thing, the ‘manipulation’ in question

in Music and the sociological gaze