Book chapters. I focus on James Unsworth and Henri Drayton, two performers who travelled between the two cities around the time of the War. Each had connections to both countries and each used words and music to express political views. From their experience, we see how the theatre — and the minstrel show in particular —provided an outlet for political views.
We also see the beginning of shift in political, economic and cultural influence towards the US. Edited by E. Much of the critical literature in the latter nineteenth century focused on Russian music, acknowledging the influence of Glinka on the younger generation of composers. In the early years of the twentieth century, critics and composers began to debate the merits of nationalism in music, as Europe advanced towards WWI. With the rise of fascism in the s, and in the aftermath of WWII, many viewed nationalism as an anachronism.
Historical writings in the second half of the twentieth century tended to relegate the works of nationalist composers to a category of second-rate music, opposed to the prevailing German style. Much of literature from musicologists has continued to focus on the musical work, and on familiar composers. A more promising trend of the past decade has been the study of performance as an expression of nationalism. This area of research has been developed in part by historical musicologists but also from ethnomusicologists such as Philip Bohlman, whose recent publications have combined archival work and ethnographic studies.
He and others working in this area have revealed how all styles of music are able to convey nationalism. I hope to suggest further ways forward and possibilities for interdisciplinary and international collaboration.
Norton Guide to Teaching Music history , It is both a resource for current music history teachers and an ideal text for history pedagogy courses. During the Great War, composers and performers created music that expressed common sentiments lik Yet music also revealed the complexities of the partnership between France, Great Britain, Canada, and the United States.
At times, music reaffirmed a commitment to the shared wartime mission. At other times, it reflected conflicting views about the war from one nation to another or within a single nation. Over Here, Over There examines how composition, performance, publication, recording, censorship, and policy shaped the Atlantic allies' musical response to the war. The first section of the collection offers studies of individuals.
www.balterrainternacional.com/wp-content/2019-12-21/353.php The second concentrates on communities, whether local, transnational, or on the spectrum in-between. Essay topics range from the sinking of the Lusitania through transformations of the entertainment industry to the influenza pandemic. Thompson, and Patrick Warfield. For the people of Hong Kong, the idea of nationhood. This is an opinion piece on the singing of patriotic songs in Hong Kong during the protests The article suggests that the song "Glory to Hong Kong" represents an expression of national identity.
This policy took its most radical turn in the mid s when Mao Zedong launched the Cultural Revolution , aiming to rid the country of bourgeois elements. He graduated in , but was able to continued his studies only when the Central Conservatory reopened in On completing his studies, he established himself as a composer of folk-inspired music for film and the concert stage. While the novel stretches over a period of forty-three years, from to , the film focuses on the period up to and including the Japanese invasion.
While the composer enjoyed only limited recognition beyond China, he went on to score other successful films, among them Raise the Red Lantern and Farewell, My Concubine , and achieve success as a composer of concert music. In selecting these works for performance, the organizers responded to demands and constraints of a society accustomed to popular entertainment from the US and under pressure from the conservative and influential Catholic Church.
CUHK Series:Under the Soviet Shadow - Kindle edition by David D. Wang. Download it once and read it on your Kindle device, PC, phones or tablets. David D. Wang is the author of CUHK Series ( avg rating, 0 ratings, 0 reviews), Clouds Over Tianshan ( avg CUHK Series:Under the Soviet Shadow.
They were works that were feasible to produce and likely to be successful in a city whose population was divided by religion, language and cultural traditions. Journal of Music History Pedagogy Vol. Studies in Ethnicity and Nationalism, vol. In this article, I examine how music was used as an expression of French-Canadian identity in nin Focusing on the s and a group of musicians and intellectuals opposed to Confederation, I explore their efforts to use performance, criticism, and composition in the re construction of French-Canadian identity.
Through an examination of the musical and political activities advertised and reviewed in the pages of these and other newspapers, we shall see how culture was used as a means to strengthen French-Canadian nationalism. Journal of the Society for American Music , Jan 1, This article explores the U. Following successful performances in Britain, Oliveira sailed for the United States in the fall of Under P.
Barnum's management, the twenty-three-year-old became a fixture on New York's theatrical scene, as an instrumental soloist with Tom Thumb's company, with the Drayton Parlor Opera troupe, and with Hooley and Campbell's Minstrels. After a year, he traveled south, settling in occupied New Orleans, where he had family connections.
Despite the economic difficulties of the time, he soon became an important figure in the city's cultural life, only to die during an outbreak of cholera and yellow fever in the summer of In the absence of letters or diaries, the article relies heavily on close examination of period newspapers, city directories and census data to reconstruct Oliveira's world. Oliveira's activities, his successes and struggles, offer insights into the place of the working musician, newly arrived in the Unites States in the late s. Examining the events of his life enables us to contrast cultural life in New York and New Orleans at the time of the Civil War.
The article illuminates the place of the instrumentalist in the theater, reveals how attitudes toward music were influenced by a cultural hierarchy, provides insights into the place of the violin in the musical life of the United States, and examines the impact of the Civil War on musical life in New Orleans. Journal of the Royal Musical Association , Jan 1, This article explores aspects of transatlantic culture through the career and works of the barito Their popularity attracted the attention of visiting US impresario P.
Barnum, who brought Drayton to New York in Gustave Smith's Louisiana Episode. Institute for Canadian Music Newsletter , Jan It shows Smith to be employed as organist at the Bishop's chapel and deeply engaged in the city's musical community, organizing concerts and teaching, but ultimately unable to make ends-meet in the harsh economic conditions of the time. This article provides a chronology and other information on the photographs and engravings of the Review of "Nation and Classical Music". Review of "Of Chronicles and Kings".
Copenhagen: Museum Tusculanum Press, Review of The Creolization of American Culture. Journal of the Society for American Music , Review of two recent books about the use of music in the films of Stanley Kubrick, director of 'Paths of Glory' , 'Spartacus' , 'Lolita' , 'Dr. Review of two recent books about the use of music in the films of Stanley Kubrick, director of ' Fontes artis musicae, Vol. Bohlman Routledge, Teaching and Learning Innovation Expo , Replacing the colonial-era system of O-Levels and A-Levels, the HKDSE aimed to prepare students for a range of possible future directions, including both associate degrees and undergraduate studies.
This poster aims to provide some insights into how well the HKDSE in Music is preparing students for university studies. It is based on a careful comparison of the secondary and university curriculum and a survey of CUHK music students, conducted in May Preliminary evidence suggests that in a number of ways the secondary curriculum fails to provide students with adequate preparation for university studies.
In addition to illustrating the discrepancies between the objectives and outcomes of the HKDSE in Music and university entrance requirements, the poster aims to offer recommendations in how we might bridge the gap between secondary and tertiary education in music. Yu Long, conductor; Tang Junqiao, dizi soloists. As Robert C.
Toll has observed, blackface minstrelsy was a medium through which many in the Unite Early on, the Irish appeared primarily as comic stage characters in minstrel shows but by the s many of the leading performers were Irish or Irish American. Just as they had an impact on the characterization of the types of characters audiences saw on stage, they brought changes to the music heard. By the s, every respectable troupe had a tenor specializing in sentimental ballads of Erin. Smith, and others, this paper explores Irish minstrel show performers of the s and s and the music they performed.
Through performance reviews, advertisements, published texts, and sheet music, I explore how traditional Irish idioms came to be accepted part of blackface minstrelsy. I focus on the career of James Unsworth Jr. Nineteen-seventeen was a momentous year by any measure. Revolutions transformed Russia, Sun Yat-s In Canada, brought the fiftieth anniversary of Confederation and the fourth year of war.
He called an election for 17 December on that issue and defeated the Liberal opposition handily. Daily Publishing Schedule.
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