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Andrew Bowie

7 Music, language and literature Language and music The divergent interpretations of the relationship between music and language in modernity are inseparable from the main divergences between philosophical conceptions of language. The attempt to explain language in representational terms in the empiricist tradition that eventually leads to analytical philosophy, and the understanding of language as a form of social action and as constitutive of the world we inhabit in the hermeneutic tradition give rise to very different conceptions of music. One paradigmatic

in Aesthetics and subjectivity
Sidney Gottlieb

50 4 The therapeutic power of music in Hitchcock’s films Sidney Gottlieb V ertigo (1958) contains not only some of the most memorable music in a Hitchcock film but one of his most grim pronouncements about the limited power of music. After the apparent death of Madeleine before his eyes, Scottie is institutionalised, comatose, beyond hope and help. Midge’s rueful comment perfectly sums up his desperate condition –​which is indeed aesthetic as well as psychological and metaphysical –​as, to coin a phrase, Amadeus absconditus. Mozart isn’t going to be nearly

in Partners in suspense
An aesthetic controversy during the establishment of the BBC Radiophonic Workshop and the radiophonic poem Private Dreams and Public Nightmares
Tatiana Eichenberger

Public Nightmares , which would air the following Monday. McWhinnie was aware of the risk of bringing out something so novel, and he smoothly anticipated critical voices among the public and press. In a four-minute introduction broadcast immediately before the piece, McWhinnie highlighted its experimental nature, explained how the new sounds were produced, and stated why, in his opinion, the use of such sounds would be the future of radiophonic art. ‘In fact, we’ve decided not to use the word music at all’, McWhinnie stated shortly after describing how these new

in Tuning in to the neo-avant-garde
Exploring the session space
Daithí Kearney

12 ‘Traditional Irish music here tonight’: exploring the session space Daithí Kearney It is a Tuesday night, November 2010, approaching half past nine in a bar in east Cork. Two television screens show European Champions League soccer matches featuring teams from the English Premier League. A scattering of people are gathered around watching with varied levels of interest; many are regulars in that they come here when the team they support is playing, or simply for a quiet pint. Séamus, the manager, is behind the bar, greeting many by name and knows their drinks

in Spacing Ireland
Peter J. Martin

Chap 2 10/7/06 11:49 am Page 13 2 Music and the sociological gaze Introduction ‘The history of musicology and music theory in our generation’, write Cook and Everist, ‘is one of loss of confidence: we no longer know what we know’ (1999: v). The reasons for this widely acknowledged crisis of confidence need not be rehearsed, but clearly arise from a series of challenges to the established discipline – from, for example, the critical and feminist theories of the ‘new’ musicologists, from various claims about the proper relation of musicology to

in Music and the sociological gaze
Martin Dowling

4147 Inglis–Are the Irish different_BB_Layout 1 29/07/2014 09:27 Page 188 18 The difference of Irish music Martin Dowling The only thing to which I find that this people apply a commendable industry is playing upon musical instruments, in which they are incomparably more skilful than any other nation I have ever seen. For their modulation on these instruments, unlike that of the Britons to which I am accustomed, is not slow and harsh, but lively and rapid, while the harmony is both sweet and gay. It is astonishing that in so complex and rapid a movement of the

in Are the Irish different?
Alison Tara Walker

Even though studies of medieval films include articles, books and entire conferences, critics tend to be silent on the subject of music in films about the medieval period, even though music is a conventional part of narrative cinema. Films use their soundtracks to engage audiences’ emotional responses, to sell CDs and to provide a musical counterpoint to the images on screen. This chapter highlights

in Medieval film
Kate Bowan and Paul A. Pickering

be almost killed by Neapolitan sharpshooters on the hills outside Capua or to witness the peace celebrations with Victor Emmanuel. 1 But it is not through this ill-timed adventure with the Garibaldians that Haweis achieved his enduring fame, but rather through the publication in 1871 of his enormously popular book, Music and Morals , which by 1903 had reached its twentieth edition. 2 Haweis, the son

in Sounds of liberty
Catherine Baker

1 Popular music and the ‘cultural archive’ This book began its Introduction, and begins its chapter structure, not in the mainstream of international affairs (the politics of state socialist Non-Alignment, or postsocialist European border control) but with what might seem a more distant topic: popular music. It does so because the everyday structures of feeling perceptible through popular music are a readily observable sign that ideas of race are part of identity-making in the Yugoslav region; proving this point opens the way to revisiting

in Race and the Yugoslav region
Gerry Smyth

5 Popular music and the Celtic Tiger Gerry Smyth Sing when you’re winning On 14 June 2012, the Republic of Ireland soccer team was comprehensively beaten 4–0 at the UEFA Euro Football Championships by the eventual winners, Spain. During an on-­the-­pitch post-­match interview for the UK’s ITV network, the Irish midfielder Keith Andrews praised the quality of the opposition as well as the ‘brilliant’ support of the Irish fans, who continued en masse to sing ‘The Fields of Athenry’ throughout the final minutes of the match. Coverage then returned to the studio

in From prosperity to austerity