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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
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
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
Ariel’s alchemical songs
Natalie Roulon

It has often been stressed that The Tempest is Shakespeare's most musical play: 1 the island's soundscape is uniquely rich and varied, its ‘noises,/Sounds, and sweet airs’ (3.2.127–8) enhance its supernatural atmosphere and Prospero's magic power is wielded largely through the music of Ariel and his fellow spirits. Unsurprisingly, music is one of the aspects of the play that has received the most critical attention, the perfect integration of this ‘dangerously refractory material

in Shakespeare and the supernatural
The sound of the cinematic werewolf
Stacey Abbott

The title sequence to the cult horror television series Buffy the Vampire Slayer (WB/UPN 1997–2003) begins with the howl of a wolf, underscored by the first four notes of the show's title theme music played on an organ. These two key sounds – the wolf and the organ – position the show within an established history of classic horror, before the organ is replaced by ‘an aggressively strummed electric guitar, relocating itself [the title theme] in modern youth culture and relocating the series within an altogether different arena

in In the company of wolves
Bulletin of the John Rylands Library
James Mountford
Bulletin of the John Rylands Library
W. W. Roberts
Bulletin of the John Rylands Library
Theorising the Cybergothic
Isabella van Elferen

This article theorizes the transgressive faculties of cyberspace‘s Gothic labyrinth, arguing that it is haunted by the ghost of material/information dualism. This ghost is embodied in cybergoth subculture: while cybergothic music creates a gateway to the borderland between biological and virtual realities, dancing enables cybergoths to transgress the boundaries between the two.

Gothic Studies
The Sad Demise of Nick Cave
Emma McEvoy

This article considers the music of Nick Cave and the Bad Seeds in terms of Gothic aesthetics. The music is Gothic not only in subject matter but also in its very performativity. It is notable for its poly-vocality and multi-genericality. I argue that Gothic music in general is characterised by a conceptual meta-level and demands a certain kind of listening: the auditor must be culturally cognisant, able to spot references to other musics and styles, and to conceive the music in terms of spaces, places and different temporalities. The last section analyses Nick Cave‘s descent into banality after Murder Ballads.

Gothic Studies