scholarly journals A critical reassessment of the reception of early jazz in Britain

Popular Music ◽  
2003 ◽  
Vol 22 (3) ◽  
pp. 315-336 ◽  
Author(s):  
Catherine Parsonage
Keyword(s):  
Musical Theatre ◽  
Sheet Music ◽  
Musical Life ◽  
Late Nineteenth ◽  
Minstrel Shows ◽  
Made In

The Original Dixieland Jazz Band's visit in 1919–1920 has been well documented as the beginning of jazz in Britain. This article illuminates a more complex evolution of the image and presence of jazz in Britain through consideration of the cultural and musical antecedents of the genre, including minstrel shows and black musical theatre, within the context of musical life in Britain in the late nineteenth to early twentieth centuries. The processes through which this evolution took place are considered with reference to the ways in which jazz was introduced to Britain through imported revue shows and sheet music.It is an extremely significant but often neglected fact that another group of American musicians, Will Marion Cook's Southern Syncopated Orchestra, also came to Britain in 1919. Remarkably, extensive comparisons of the respective performances and reception of the ODJB and the SSO have not been made in the available literature on jazz. Examination of the situation of one white and one black group of American musicians performing contemporaneously in London is extremely informative, as it evidences the continuing influence of the antecedents of jazz and the importance of both groups in shaping perceptions of jazz in Britain.

The internationalization of musical life at the end of the nineteenth century in modernized Paris and Rome

Urban History ◽  
2013 ◽  
Vol 40 (4) ◽  
pp. 663-680
Author(s):  
GESA ZUR NIEDEN
Keyword(s):  
Nineteenth Century ◽  
Musical Theatre ◽  
Musical Life ◽  
Avant Garde ◽  
Limited Availability ◽  
Urban Renovation ◽  
The Relationship

ABSTRACT:This article examines the relationship between the processes of urban renovation in European capitals and the internationalization of musical theatre productions, using the example of theatres constructed in Paris and Rome at the end of the nineteenth century. Due to the limited availability of governmental and municipal funding, the more popular theatres in both capitals came to provide an important space for musical productions on an avant-garde level, with international repertoires and casts.

Aspects of Nationalist Propaganda in the Late Nineteenth-Century Romanian Musical Press

2017 ◽  
Vol 14 (3) ◽  
pp. 339-365
Author(s):  
Florinela Popa
Keyword(s):  
Nineteenth Century ◽  
The Other ◽  
Late Nineteenth Century ◽  
Musical Life ◽  
Effect Relationship ◽  
Music Scene ◽  
Inferiority Complex ◽  
Late Nineteenth ◽  
And Performance ◽  
Harsh Criticism

In the last decades of the nineteenth century, two widely different attitudes regarding local music were evident in the Romanian musical press. One viewpoint had an obviously nationalist character, and was manifested in an apologetic idealization of Romanian music – especially folklore – but also in calls for the improvement of composition and performance in the local music scene. The other attitude revealed a pronounced inferiority complex connected to everything that contemporary Romanian music represented. This was manifested especially in the (sometimes harsh) criticism of Romanian musical life, and in a hostile position towards or ignorance of Romanian musicians, composers or interpreters, except when they attained success and recognition abroad – and sometimes not even then. The two extreme attitudes are not mutually exclusive, but complement each other; essentially, they can be seen to be in a cause–effect relationship.These two faces of nationalist propaganda are reflected by publications such as Lyra română – foaie musicală şi literară, a weekly magazine published between 2 December 1879 and 31 October 1880, and România musicală, which appeared twice a month between 1 March 1890 and 28 December 1904.

Poverty Line: A Definitional Progress in India

2015 ◽  
Vol 2 (1) ◽  
Author(s):  
Deepti Kakar
Keyword(s):  
Poverty Line ◽  
Late Nineteenth Century ◽  
Expert Group ◽  
Think Tank ◽  
Food Items ◽  
Historical Origin ◽  
Late Nineteenth ◽  
Definition Of ◽  
The Cost ◽  
Made In

The origin of poverty in India lies in the historical origin of the country itself. However, defining poverty to entail its measurement and removal is of recent origins – the first attempt being made in late nineteenth century. With the passage of time, better understanding of the multi-dimensional nature of poverty occurred. In this paper, the authors attempt to track the evolution of the definition of poverty in India. These include the official changes that have taken place from time to time as well as some independent suggestions made by eminent researchers of the field which have received critical acclaim within the think-tank of poverty researchers. The definition of poverty or poverty line has been trailed chronologically beginning in the British era in pre-Independent India to the latest on poverty line officially. The exploration by the authors reveals that in India poverty had been traditionally looked at as insufficiency to attain subsistence and all the attempts at poverty line definitions were anchored to the Food Energy Intake method. More recently, the recommendations by the Tendulkar Committee and Rangarajan Expert Group include a shift away from the calorie norms to the cost of basic needs method which looks at basic requirements of food and non-food items. Along with the recommendation of various expert groups that defined poverty line (official) for India, the contentions raised by fraternity are also discussed.

West End Royalty

2017 ◽  
Author(s):  
Stewart Nicholls
Keyword(s):  
Public Attitudes ◽  
Musical Theatre ◽  
Second World War ◽  
Original Material ◽  
World War ◽  
Sheet Music ◽  
Musical Comedy ◽  
Second World

Ivor Novello represents the stylistic bridge between Edwardian operetta and post-Second World War British musical comedy. This essay charts the development of British operetta, which was dominated by Novello, in the context of changing public attitudes, artistic influences, and world events. Consideration will be given to how Novello and his contemporaries were obliged to adapt their style to compete with the changes in British musical theatre in the late 1940s, what kind of legacy their works have left, why the pieces are seldom performed today, and why much of British musical theatre of this period has been forgotten. Whilst some of the contemporary neglect of English operetta may be attributed to the loss of some of the original material (such as libretti, sheet music, and orchestrations) and the lack of adequate recordings, the question will be considered whether the work of Novello and his fellow writers is actually worth reviving.

scholarly journals "Moonlight and Roses", and other things they played: Organ Recitals in New Zealand, 1870-1920

2021 ◽  
Author(s):  
◽  
Dianne Halliday
Keyword(s):  
New Zealand ◽  
World War I ◽  
Primary Source ◽  
Sheet Music ◽  
Musical Life ◽  
Study Approach ◽  
Regular Employment ◽  
Pipe Organs ◽  
Choral Societies ◽  
Primary Focus

<p>The early history of pipe organs in New Zealand, and the music which was played on them, has long been of interest to organists and domestic organ builders alike. The primary focus of this exegesis is the performers themselves and the repertoire they chose to present to the public through the medium of the organ recital during a fifty-year period from 1870–1920. A case study approach is adopted, where two centres, one metropolitan and one provincial, have been selected from each of the two main island of New Zealand. Using primary source materials, including contemporary newspapers and concert programmes, details of a significant selection of organ recitals held in Wellington, Christchurch, Southland, and Hawke’s Bay can be tabulated. This allows for some discernment of trends in musical preferences.  New Zealand was no exception to the world wide practice by organists of utilising in their performances works not originally written for their instrument. In a wider Australasian context, organ recitals were conduits for the dissemination of symphonic, operatic and chamber music, particularly on larger instruments. The balance between transcriptions and works for the organ in these recitals is one of the study’s areas of investigation. This also requires some discussion of the instruments themselves. Another is the extent to which music was considered a formative social influence, particularly since most nineteenth-century recitals were played in churches, rather than civic (secular) auditoria, and were considered to take on the character of the venue.  The research also uncovers details about the origins and career paths of the performers. Some were private teachers, choral and/or instrumental conductors or accompanists. Still others had regular employment as schoolteachers or purveyors of instruments and sheet music, and a third group found primary employment outside the musical sphere either as civil servants or in private enterprise.  Analysis of the wealth of surviving information (concerning organists and their performances) demonstrates that the organ recital was a ubiquitous and popular event in New Zealand prior to World War I. Alongside other musical activities these programmes play a role in the development of society’s musical life, both in its own right and as the accompanying instrument for various choral societies (before the development of fully-fledged orchestral groups). Society was changed with the advent of hostilities; after they ended, there were new norms and expectations.  Outside the main text, the collations of raw data are provided on an accompanying CD, along with biographical details of those who made small contributions to the recital scene, or were present in New Zealand for only a limited time.</p>

scholarly journals "Moonlight and Roses", and other things they played: Organ Recitals in New Zealand, 1870-1920

2021 ◽  
Author(s):  
◽  
Dianne Halliday
Keyword(s):  
New Zealand ◽  
World War I ◽  
Primary Source ◽  
Sheet Music ◽  
Musical Life ◽  
Study Approach ◽  
Regular Employment ◽  
Pipe Organs ◽  
Choral Societies ◽  
Primary Focus

<p>The early history of pipe organs in New Zealand, and the music which was played on them, has long been of interest to organists and domestic organ builders alike. The primary focus of this exegesis is the performers themselves and the repertoire they chose to present to the public through the medium of the organ recital during a fifty-year period from 1870–1920. A case study approach is adopted, where two centres, one metropolitan and one provincial, have been selected from each of the two main island of New Zealand. Using primary source materials, including contemporary newspapers and concert programmes, details of a significant selection of organ recitals held in Wellington, Christchurch, Southland, and Hawke’s Bay can be tabulated. This allows for some discernment of trends in musical preferences.  New Zealand was no exception to the world wide practice by organists of utilising in their performances works not originally written for their instrument. In a wider Australasian context, organ recitals were conduits for the dissemination of symphonic, operatic and chamber music, particularly on larger instruments. The balance between transcriptions and works for the organ in these recitals is one of the study’s areas of investigation. This also requires some discussion of the instruments themselves. Another is the extent to which music was considered a formative social influence, particularly since most nineteenth-century recitals were played in churches, rather than civic (secular) auditoria, and were considered to take on the character of the venue.  The research also uncovers details about the origins and career paths of the performers. Some were private teachers, choral and/or instrumental conductors or accompanists. Still others had regular employment as schoolteachers or purveyors of instruments and sheet music, and a third group found primary employment outside the musical sphere either as civil servants or in private enterprise.  Analysis of the wealth of surviving information (concerning organists and their performances) demonstrates that the organ recital was a ubiquitous and popular event in New Zealand prior to World War I. Alongside other musical activities these programmes play a role in the development of society’s musical life, both in its own right and as the accompanying instrument for various choral societies (before the development of fully-fledged orchestral groups). Society was changed with the advent of hostilities; after they ended, there were new norms and expectations.  Outside the main text, the collations of raw data are provided on an accompanying CD, along with biographical details of those who made small contributions to the recital scene, or were present in New Zealand for only a limited time.</p>

Greek Music Piano Rolls in the United States

2018 ◽  
pp. 301-311
Author(s):  
Meletios Pouliopoulos
Keyword(s):  
United States ◽  
The United States ◽  
Sheet Music ◽  
History Of ◽  
Late Nineteenth ◽  
The U.S

In “Greek Piano Rolls in the U.S.,” collector Meletios Pouliopoulos presents ground-breaking research on Greek piano roll recordings of the 1920s and 1930s. Player pianos were popular in the late nineteenth and early twentieth centuries, and piano roll companies, like record distributers, issued significant quantities of Greek piano rolls to target the ethnic market. Pouliopoulos conducted interviews and explored existing catalogs to unearth the forgotten history of ethnic, and particularly Greek, music produced on piano rolls by the QRS Company of Buffalo, NY and Alector. He also correlates the production of rolls to both sheet music publications and phonograph recordings of the time, as well as to the production of music by particular artists or in some genres rarely heard today.

Introduction

2016 ◽  
Author(s):  
Marion Thain
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Late Nineteenth Century ◽  
High Modernism ◽  
Late Nineteenth ◽  
The Relationship ◽  
Made In

Starting with the idea of the late nineteenth century as a locus of ‘lyric crisis’, the introduction outlines established scholarly narratives of the relationship between poetry and modernity in the nineteenth century, and describes how the book will challenge these through its attention to aestheticist poetry. It goes on to explain the remit and choices made in the structure of the book (which is organized around three parts, each of which contains three chapters), and ends by situating the book’s methodology in relation to the fields of lyric studies and lyric theory. The overall aim of the book is stated as the analysis of the relationship between lyric and modernity prior to the better known story of poetic modernisation that occurs within high modernism in the first half of the twentieth century.

Beyond Bach

2017 ◽  
Author(s):  
Andrew Talle
Keyword(s):  
Visual Art ◽  
Close Friend ◽  
Sheet Music ◽  
Musical Life ◽  
Teenage Girls ◽  
Keyboard Music ◽  
Women And Children ◽  
Primary Focus ◽  
Musical Interests

This book investigates the musical life of Johann Sebastian Bach’s Germany from the perspectives of those who lived in it. The men, women, and children of the era are treated here not as extras in the life of a famous composer but rather as protagonists in their own right. The primary focus is on keyboard music, from those who built organs, harpsichords, and clavichords, to those who played keyboards recreationally and professionally, and those who supported their construction through patronage. Examples include: Barthold Fritz, a clavichord maker who published a list of his customers; Christiane Sibÿlla Bose, an amateur keyboardist and close friend of Bach’s wife; the Countesses zu Epstein, whose surviving library documents the musical interests of teenage girls of the era; Luise Gottsched, who found Bach’s music less appealing than that of Handel; Johann Christoph Müller, a keyboard instructor who fell in love with one of his aristocratic pupils; and Carl August Hartung, a professional organist and fanatical collector of Bach’s keyboard music. The book draws on published novels, poems, and visual art as well as manuscript account books, sheet music, letters, and diaries. For most music lovers of the era, J. S. Bach himself was an impressive figure whose music was too challenging to hold a prominent place in their musical lives.

River Glass

2015 ◽  
Vol 5 (2) ◽  
pp. 42-51
Author(s):  
Matthew Klingle
Keyword(s):  
Nineteenth Century ◽  
Los Angeles ◽  
Late Nineteenth Century ◽  
The West ◽  
Los Angeles River ◽  
Late Nineteenth ◽  
Early Photography ◽  
Made In

This essay by historian Matthew Klingle compares the work of Carleton Watkins, a pioneer in early photography, and Michael Kolster, a contemporary photographer. Like his predecessor, Kolster uses the wet-plate photographic process to create ambrotypes: handmade images made on glass. Watkins’s images, made in the late-nineteenth century, helped to sell scenic, monumental California and the West to the nation. In contrast, Kolster’s photographs of the Los Angeles River, a degraded and often ignored urban waterway, suggest how older photographic techniques might be employed to create new aesthetics of place freed from the confines of purity and beauty.

Sign in / Sign up

Export Citation Format

Share Document