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Roger Singleton-Turner

Just as there is no ‘correct’ way to direct drama, so there is no one ‘right’ way of approaching music. I have worked with musicians on my own productions, often on incidental music, but also on as-live music items. I have, in my time, also worked on UK music shows for the BBC including The Old Grey Whistle Test , Top of the Pops and Gala Performance (which centred on broadly classical music including ballet and opera). Music used in any kind of public performance, from computer games to telephones, to a performance in the village hall, will cost money

in Cue and Cut
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Nick Crossley

2 Music worlds In the previous chapter I suggested that punk and post-punk are best conceived, for sociological purposes, as ‘music worlds’, a concept I  adapt from Howard Becker’s notion of ‘art worlds’ (1951, 1963, 1974, 1976, 1982, 1995, 2004, 2006a, 2006b; Faulkner and Becker 2009; see also Bottero and Crossley 2011; Finnegan 1989; Lopes 2002; Martin 1995, 2005, 2006a, 2006b). In this chapter I elaborate upon this concept. Before I do, however, I briefly review three alternative conceptions, explaining why I have chosen ‘music worlds’ over them. As much

in Networks of sound, style and subversion
Embedded, embodied and multivalent
Nick Crossley

In this chapter, I argue that music is social interaction. This argument connects to one of the central claims of relational sociology, discussed in the Chapter 1 ; namely, that social interaction is the most basic unit of sociological analysis and a building brick from which the more complex structures of the social world are composed. That is one reason for making the argument. By showing that music is social interaction, I frame it appropriately for relational analysis and understanding. However, it is also important to establish that music is social

in Connecting sounds
Open Access (free)
New retro movies in 1990s Hollywood cinema
Philip Drake

, reconstructing the past as an episodic narrative. This narrative dramatises the relationship between past and present, constructing a memory of the past through the recycling of particular iconography that metonymically comes to represent it. Particular fashions, music and visual images are memorialised, and become subject to reinterpretation in the present. Memories of the 1970s in the 1980s, for example, are

in Memory and popular film
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Melodramatizing the Hungarian Holocaust
R. Barton Palmer

his engagement in politics, broadly defined, is nicely exemplified by Music Box (1989) , which deals with the, then, largely ignored history of the Hungarian Holocaust, the last large-scale operation in the final solution that was directed personally by Adolf Eichmann. Produced at a key moment in the history of Hungary (the fall of communism in 1989), this US-made film, based on a screenplay by Hungarian-American screenwriter Joe Eszterhas, breaks important cinematic ground for world cinema. Music Box is the first film to address how the Nazi final solution was

in The films of Costa-Gavras
Musical meaning and musical discourse in Ingmar Bergman’s films
Per F. Broman

Swedish readers of this book will be familiar with Ingmar Bergman’s last major radio appearance, the 18 July 2004 edition of the talk show Sommar [‘Summer’]. 1 For those to whom this broadcast institution is unknown, Sommar is a long-running Swedish radio show that is aired during the summer months and features a daily almost two-hour broadcast, in which notable Swedes muse over life and select music for the programme, as typically more than half of the programme consists of music

in Ingmar Bergman
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
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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