The Viennese Ballroom in the Age of Beethoven

2021 ◽  
Author(s):  
Erica Buurman
Keyword(s):  
Nineteenth Century ◽  
Social Contexts ◽  
Dance Music ◽  
Musical Life ◽  
Social Dance ◽  
Concert Music ◽  
The Social ◽  
Social Dances ◽  
Ballroom Dance

The repertoire of the early Viennese ballroom was highly influential in the broader histories of both social dance and music in nineteenth-century Europe. Yet music scholarship has traditionally paid little attention to ballroom dance music before the era of the Strauss dynasty, with the exception of a handful of dances by Haydn, Mozart and Beethoven. This book positions Viennese social dances in their specific performing contexts and investigates the wider repertoire of the Viennese ballroom in the decades around 1800, most of which stems from dozens of non-canonical composers. Close examination of this material yields new insights into the social contexts associated with familiar dance types, and reveals that the ballroom repertoire of this period connected with virtually every aspect of Viennese musical life, from opera and concert music to the emerging category of entertainment music that was later exemplified by the waltzes of Lanner and Strauss.

Orchestras and musical intersections with regimental bands, blackface minstrel troupes, and jazz in India, 1830s–1940s

2018 ◽  
Author(s):  
Bradley Shope
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Late Nineteenth Century ◽  
Dance Music ◽  
British Military ◽  
Blackface Minstrelsy ◽  
Ballroom Dance ◽  
Late Nineteenth ◽  
Challenges And Strategies

This chapter discusses blackface minstrel troupes, British regimental bands and jazz orchestras performing in India from the mid-nineteenth century to the mid-twentieth century. It details their challenges and strategies for success, and suggests that their capacity to facilitate cosmopolitan encounters in the wider world contributed to their popularity and value. It first introduces problems and practicalities in maintaining bands performing British military music in India in the mid- and late-nineteenth century. It then briefly introduces the character and scope of ballroom dance music and blackface minstrelsy in urban centres. To end, it examines the character of jazz orchestras between the 1920s and 1940s, detailing the role of the gramophone industry, entertainment venues such as hotel and cinema hall ballrooms, and the Allied military in Calcutta on their growth and profitability. In each example, it articulates thoughts on the role and usefulness of orchestras and notes issues confronting their musicians.

‘From the Best Authorities’: The Mountains of Kong in the Cartography of West Africa

1991 ◽  
Vol 32 (3) ◽  
pp. 367-413 ◽  
Author(s):  
Thomas J. Bassett ◽  
Philip W. Porter
Keyword(s):  
Nineteenth Century ◽  
West Africa ◽  
Social Contexts ◽  
French Empire ◽  
History Of Cartography ◽  
Empire Building ◽  
Spatial Image ◽  
The Social ◽  
History Of ◽  
Mountain Chain

This study goes beyond the ‘first and last appearance’ approach of cartographic historians to examine the social contexts in which the Kong Mountains were first depicted in and then eliminated from nineteenth-century maps of Africa. This history shows that the conventional periodization of the history of cartography into ‘decorative’ and ‘scientific’ phases is greatly exaggerated. We trace the mountains' origins to the geographer James Rennell and show how their purported existence served to support his arguments on the course of the Niger River at the turn of the nineteenth century. The enduring depiction of the Kong Mountains throughout the century illustrates the authoritative power of maps. This authority is based on the public's belief that cartographers are guided by an ethic of accuracy and are applying scientific procedures in mapmaking. Despite doubts about the existence of this mountain chain, the ‘extraordinary authority’ of maps helped to perpetuate an erroneous spatial image of West Africa until Binger's famous expedition in the late 1880s. With the publication of his travels and maps, Binger became the new authority on West African geography. His work altered the subsequent cartography of the region and substantially contributed to French empire-building.

The Classification of Style

2017 ◽  
Author(s):  
Joanna Bosse
Keyword(s):  
Middle Class ◽  
Social Order ◽  
Western Europe ◽  
The Body ◽  
Symbolic Resources ◽  
The Social ◽  
Social Dances ◽  
Ballroom Dance ◽  
High Degree

This chapter introduces the reader to to the tenets of ballroom dance by focusing on the various classificatory systems used in social dances. It begins with a discussion of the “ballroom umbrella” and the wealth of symbolic resources it encompasses, first by considering dancesport and social dancing, followed by an analysis of International and American styles of ballroom performance. It then examines four themes that emerge from classificatory systems: an emphasis on a high degree of specialization in performance; the demonstration of control over the body and its movement; the rationalization of movement and the ideas articulated by it, especially as mediated by language and other symbols; and an association with Western Europe. The chapter suggests that dance classifications also function as social classifications that serve to stratify individuals and groups according to their perception of the social order. More specifically, they articulate the betwixt-and-between-ness that characterizes the American middle class.

scholarly journals Variability of artistic and aesthetic features of social dance Brazilian Zuk and its bedding

2021 ◽  
Author(s):  
Anastasia Zhuravleva
Keyword(s):  
Modern Dance ◽  
Dance Movement ◽  
Social Dance ◽  
Smooth Flow ◽  
The Social ◽  
The Gift ◽  
Domestic Art ◽  
Social Dances ◽  
Individual Type ◽  
Theoretical Generalization

The purpose of the article is to identify the genre, stylistic and rhythmic specifics of the social dance Brazilian Sound, as well as to theorize the artistic and aesthetic features of the new dance backgrounds developed on its basis. Methodology. A typological method was applied, thanks to which the main characteristics of the social dance Brazilian Zuk were determined; figurative-stylistic and formal-stylistic method, which helped to identify a system of typical forms and lexical features inherent in the dance and developed on its basis substrates; the method of comparative analysis, which revealed the common and distinctive features of the traditional social dance Brazilian Sound and innovative backgrounds created on its basis; method of theoretical generalization, which helped to summarize the results of the study. Scientific novelty. The process of origin and development of one of the most popular social dances of the XXI century is studied. Brazilian Zuk; the compositional features of the Brazilian Sound were identified and analyzed; For the first time in domestic art history the genre-stylistic and rhythmic features of the main sub-styles (Rio-zouk style, Porto-Seguro style, M-zouk, Neo-zouk) and sub-styles (Modern zouk, Soulzouk R&B zouk) of the Brazilian Zuk are considered and the specificity of their art is revealed. aesthetic variability. Conclusions. The study found that the Brazilian Sound is an independent style of modern dance art, which is characterized by a number of features: the atmosphere of performance (platforms for social dances, dance conferences, seminars, etc.); creating a composition of the Brazilian Sound is usually a collective process - the authorship of style and background belongs to talented dancers, who are endowed with the gift of improvisation and specific temperament; special individual type of dance movement: the basic sequence of steps is connected with metrorhythmic features of musical accompaniment; a specific combination of plasticity, flexibility, and rotations creates individual dance backgrounds: acrobatic Acro Zouk, smooth Flow Zuk, contrast Zuk Revolution, improvisational M-zuk, inflammatory Lambazuk, philosophical-hypnotic Neo-zuk, and others. Prospects for innovative research in the field of genre-style interaction of the Brazilian Sound and modern dance trends are the unique basis of dance, which is positioned as the initial impetus for further lexical and rhythmic-intonational choreographic experiments and depends on the peculiarities of musical material. Keywords: Brazilian Zuk, social dance, artistic and aesthetic features, M-zuk, Neo-zuk, Lambazuk.

Dance and the Female Singer in Second Empire Opera

2012 ◽  
Vol 36 (2) ◽  
pp. 101-121
Author(s):  
Sean M. Parr
Keyword(s):  
Nineteenth Century ◽  
Female Body ◽  
Second Empire ◽  
Social Dance ◽  
Singing Style ◽  
Social Dances

Abstract A vogue for coloratura dance arias began in the 1850s. This emerging genre combined melismatic singing with two hugely popular social dance genres: the bolero and the waltz. Scholars have observed an association between these social dances and a certain euphoric feminine sensuality, but the connection between this youthful ebullience in dance and virtuosic female vocality has been largely ignored. Dancing was notorious in the nineteenth century because of its dangerously arousing and vertiginous effects. As dances increased in speed and difficulty, so too did the singing of sopranos in midcentury Paris. In exploring relationships between dance, femininity, and singing, this article situates coloratura dance arias in the Paris of Napoléon III's Second Empire, a city sometimes condemned for its decadent materialism or dismissed because of its political impotence, in spite of its cultural, architectural, and technological importance. I argue for a connection between coloratura and the female body in precisely the era when the venerable singing style became the almost exclusive domain of the female singer and, simultaneously, reached its apogee in a Paris devoted to all the joy and glamour it could afford. Specific performers such as Marie Cabel and Caroline Carvalho were key to the success and even creation of these dance arias. These sopranos were certainly objectified in a problematic manner, but they were also “envoiced” (Carolyn Abbate's term) as wielders of a compelling musical power: coloratura. In providing virtuosic and luxurious expressions of femininity, these coloratura dance arias established a new sense of female vocality in the aural imagination of the Second Empire.

scholarly journals The Hibernian Catch Club: Catch and Glee Culture in Georgian and Victorian Dublin

2018 ◽  
pp. 17-33
Author(s):  
Tríona O’Hanlon
Keyword(s):  
Nineteenth Century ◽  
Religious Organizations ◽  
Professional Musicians ◽  
Musical Life ◽  
Social Divisions ◽  
Music Making ◽  
Cultural Life ◽  
The Social ◽  
Late Eighteenth ◽  
Cultural Connections

The Hibernian Catch Club was the leading Irish club of its kind, setting the standard in terms of performance. It gained status as Dublin’s longest-standing music society, and must be credited with pioneering catch and glee culture in Ireland. Its existence appears to pre-date the foundation of the most renowned London catch and glee clubs, emphasizing its significance within the wider context of catch and glee culture. This article examines the contribution that the Hibernian Catch Club made to musical life in Georgian and Victorian Dublin, contextualizing how the Club’s activities and membership reflect aspects of Dublin’s wider social, political and cultural life during this period.  The extent to which the Club reflects the traditions associated with the culture as established in England is evaluated, before the discussion turns to an exploration of the repertoire. The Hibernian Catch Club was part of a wide performing network, its singers possessing established connections with musical, social and religious organizations in Dublin, London and provincial England. The Hibernians engaged with and maintained the traditions associated with the culture (singing, dining and conviviality) while also representing the social and cultural partnership formed between Dublin’s amateur and professional musicians. Its singers, dominated by vicars choral, represent the religious and social divisions evident in private music-making circles in late-eighteenth and nineteenth-century Dublin. In fact, social, religious and musical exclusivity were inherent in its profile and are reflected by the overall lack of change in its aims and outlook. The Club’s activities and repertoire are comparable with those of the London and provincial English catch and glee clubs, illustrating the strong cultural connections between Britain and Ireland.  

Music and Dance

2017 ◽  
Author(s):  
Lawrence M. Zbikowski
Keyword(s):  
Nineteenth Century ◽  
Social Relations ◽  
Western Europe ◽  
Social Contexts ◽  
Franz Schubert ◽  
Early Nineteenth Century ◽  
Louis Xiv ◽  
The Social ◽  
Social Landscape ◽  
The Relationship

This chapter provides an introduction to and analyses of relationships between music and dance in two dance practices from Western Europe: the first from early eighteenth-century France, the second from early nineteenth-century Vienna. The chapter introduces French dance notation and shows how it facilitates an analysis of the steps and music for a bourrée. The analysis offers insights into the musical grammar of the bourrée and the contribution that dance practice made to the construction of social relations in the court of Louis XIV. The second dance practice is that of the waltz, which had a prominent place in the social landscape of early nineteenth-century Vienna. Analyses of waltzes by Josef Lanner and Franz Schubert make clear the relationship between the music and steps of the waltz, as well as how composers adapted their music to the different social contexts within which the dance was performed.

The Social Contexts of Racial Discrimination in Sentencing

1986 ◽  
Vol 33 (3) ◽  
pp. 236-251 ◽  
Author(s):  
Martha A. Myers ◽  
Susette M. Talarico
Keyword(s):  
Racial Discrimination ◽  
Social Contexts ◽  
The Social
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