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Against the corporate voice
Caroline Coon

52 THE POLITICS OF POP AND THE NEOLIBERAL CONJUNCTURE 2 The Clash and musical artistry: against the corporate voice Caroline Coon This chapter had its origins in a keynote address delivered at a conference devoted to The Clash held in Belfast in June 2014. What Colin Coulter could not have known when he invited me to give this keynote talk1 was how important for the construction of my political thought about change, conflict and peace Belfast has always been – as Belfast surely was for The Clash. As a youth in the 1960s, I was engaged in how to do politics in

in Working for the clampdown
Peter J. Martin

Chap 6 10/7/06 11:51 am Page 105 6 Musical life in the ‘first industrial city’ With the Concert of Ancient Music [1776] began a peculiarly modern institution: upper class people displaying their social status and their musical sophistication while revering great music from the past. It is necessary to recognise that two quite distinct factors are involved here – social class and musical taste. While in some respects they reinforced each other, in other ways they bred contradictions. (William Weber, 1992: 1) Introduction It was argued in the previous

in Music and the sociological gaze
Ann-Kristin Wallengren

In recent years, scholars have been devoting more and more discussion to Ingmar Bergman’s films from a musical perspective. 1 Considering that Bergman himself had a heartfelt love of music, and worked meticulously on the soundtrack of his films where music was often foregrounded as an essential conveyor of narrative information and the character’s emotions, it is odd that his film music has not come in for greater attention before. Of course, this circumstance has also been noticed by other writers. Per F

in Ingmar Bergman
Gérard Dastugue

musician are completely different persons. But as we’ve come to know more about each other, I’ve been able to tell what Luc’s thinking from the way he moves the camera. He’s a filmmaker who knows exactly what emotion he wants from the music, and relies on me to express them. So we have developed a musical language that makes our collaborations exciting

in The films of Luc Besson
Ann Buckley

is clear from their content and topics, their structure, the extent of specific musical terminology, descriptions of performance practice (including singing and techniques of playing musical instruments), titles of tunes in some of the rubrics, and the presence of partial music notation in the form of unheighted neumes, that is, neumes on a single horizontal plane, thus not indicating the rise and fall of the melodic line. The collection also contains specific texts pertaining to music theory and to singing exercises, for some of which transcribable notation

in Aspects of knowledge
Val Scullion

This essay proposes that the polyphonic and transgressive aspects of Gothic forms are influenced by music. It examines formal connections between the sonnets of Sturm und Drang poet, Friedrich Hölderlin, their musical setting by Benjamin Britten, and Susan Hill‘s novel The Bird of Night, arguing that Hill and Britten have, in common, processes of writing or musical composition which mix together disparate discursive or musical components. These inter-genre borrowings suggest that the sound and compositional practices of certain types of music allow for the expression of tensions, dualities, transformations and extreme states of mind which the Gothic novel has developed its own tropes to express.

Gothic Studies
Lisa Shaw

This chapter considers the performance of songs in the musical comedy films known as chanchadas , which dominated film production in Brazil from the late 1930s to the beginning of the 1960s, and initially at least took their inspiration from the Hollywood musical. The majority of these low-budget films were produced by the Atlântida studios, based in Rio de Janeiro, and each contained, on average

in Screening songs in Hispanic and Lusophone cinema
Louise D’Arcens

Despite her abundant output over more than three decades and across several genres, only one musical setting of Christine de Pizan’s work survives: the plaintive ballade ‘Dueil angoisseus, rage desmesurée’ (‘Anguished grief, rage beyond measure’), one of her Cent ballades (1402), which was turned into a chanson in the 1420s or 1430s by her

in Medieval literary voices
Peter J. Martin

Chap 3 10/7/06 11:49 am Page 32 3 Over the rainbow? On the quest for ‘the social’ in musical analysis Introduction In the previous chapter it was suggested that many of the challenges to the ‘old’ ways of musicology derive from the assertion that the study of music must recognise the inescapably social nature of the creation, performance and reception of music. While there may indeed be much to be gained in a technical sense by removing the creature – in this case the musical work – from its natural habitat and dissecting it in the laboratory, the essence

in Music and the sociological gaze
Sarah Daynes

4 The construction of a musical memory The history of reggae music is long and complex and, in reference to a common expression within reggae and the Rastafari movement, “half the story has never been told.” In opposition to other scholars who describe it in terms of a linear evolution stemming from one source, and hence consider each new development as the extension or direct product of the preceding one, Bilby argues that Jamaican music “has evolved in a considerably more disorderly manner than this and has always been stylistically more heterogeneous and

in Time and memory in reggae music