An exploration of the relationship between melodic originality and fame in early 20th-century American popular music

2015 ◽  
Vol 44 (4) ◽  
pp. 710-729 ◽  
Author(s):  
Richard W. Hass
Keyword(s):  
Popular Music ◽  
20Th Century ◽  
Early 20Th Century ◽  
American Popular Music ◽  
The Relationship

The origins of syncopation in American popular music

Popular Music ◽  
2021 ◽  
Vol 40 (1) ◽  
pp. 18-41
Author(s):  
David Temperley
Keyword(s):  
African American ◽  
Popular Music ◽  
20Th Century ◽  
19Th Century ◽  
Vocal Music ◽  
Piano Music ◽  
Historical Process ◽  
American Popular Music ◽  
The 19Th Century ◽  
Fourth Position

AbstractThe origins of syncopation in 20th-century American popular music have been a source of controversy. I offer a new account of this historical process. I distinguish between second-position syncopation, an accent on the second quarter of a half-note or quarter-note unit, and fourth-position syncopation, an accent on the fourth quarter of such a unit. Unlike second-position syncopation, fourth-position syncopation tends to have an anticipatory character. In an earlier study I presented evidence suggesting British roots for second-position syncopation. in contrast, fourth-position syncopation – the focus of the current study – seems to have had no presence in published 19th-century vocal music, British or American. It first appears in notation in ragtime songs and piano music at the very end of the 19th century; it was also used in recordings by African-American singers before it was widely notated.

Russian Empire’s Religious Institutions in the 18th - Early 20th Century: The Evolution of “Friend - Alien - Foe” Relations

2021 ◽  
Vol 20 (1) ◽  
pp. 8-31
Author(s):  
Alexandre Yu. Bendin
Keyword(s):  
20Th Century ◽  
Legal Status ◽  
18Th Century ◽  
Early 20Th Century ◽  
Religious Institutions ◽  
Religious Tolerance ◽  
Religious Discrimination ◽  
Old Believers ◽  
Institutional Relations ◽  
The Relationship

The Russian governments three principal institutions to regulate the empires diverse religions from the 18th to the early 20th century are examined. Its author describes the evolution of these bodies, their features and purpose, as well as defining the concept of religious security by analyzing its specific historical content. The author also discusses the relationship between the institutions of the official Russian Church, religious tolerance for foreign confessions, and discrimination against the Old Believers through the prism of friend - alien - foe relations. This approach helps us understand the hierarchical nature of the relations and contradictions that existed between the institutions, whose activities regulated the religious life of the Russian Empires subjects until 1905. The article goes on to analyze the relationship between the official legal status of the Russian Church, imperial tolerance, and religious discrimination. It concludes that the formation of the three state-religious institutions that began in the 18th century ended during the reign of Emperor Nicholas I. That time saw the beginning of the gradual evolution of friend - alien - foe inter-institutional relations, which peaked under Emperor Nicholas in 1904-1906. The author also considers the changes in the governments policy towards the Russian schism of the 17th century, which ultimately removed the friend-or-foe opposition in the relations between the Russian state, the Russian Church and the schismatic Old Believers. In accordance with the modernized legislation on religious tolerance, lawful Old Believers and sectarians moved from the category of religious and political foes to that of aliens, to which foreign confessions traditionally belonged. Under the new legal and political conditions, intolerance and religious discrimination against the schism ceased to be an instrument of state policy.

Djalkiri

2021 ◽  
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Philosophical Foundations ◽  
Collaborative Community ◽  
Arnhem Land ◽  
New Type ◽  
The University ◽  
The Relationship ◽  
Over Time

Djalkiri are “footprints" – ancestral imprints on the landscape that provide the Yolŋu people of eastern Arnhem Land with their philosophical foundations. This book describes how Yolŋu artists and communities keep these foundations strong, and how they have worked with museums to develop a collaborative, community-led approach to the collection and display of their artwork. It includes contributions from Yolŋu elders and artists as well as Indigenous and non-Indigenous historians and curators. Together they explore how the relationship between communities and museums has changed over time. From the early 20th century, anthropologists and other collectors acquired artworks and objects and took photographs in Arnhem Land that became part of collections at the University of Sydney. Later generations of Yolŋu have sought out these materials and, with museum curators, proposed a new type of relationship, based on a deeper respect for Yolŋu intellectual frameworks and a commitment to their central role in curation. This book tells some of their stories.

The Sound of India In Maurice Delage’s Quatre Poèmes Hindous

2020 ◽  
Vol 65 (2) ◽  
pp. 277-296
Author(s):  
Noémi Karácsony
Keyword(s):  
20Th Century ◽  
Point Of View ◽  
The Other ◽  
Western Music ◽  
Personal Contact ◽  
Early 20Th Century ◽  
French Music ◽  
Sound Effects ◽  
Instrumental Technique ◽  
The Relationship

"French composer and pianist Maurice Delage wrote several significant works inspired by his personal contact with the Orient. His travels to India inspired Delage to use innovative sound effects in his compositions, as well as to require his performers to adapt their vocal or instrumental technique to obtain the sound desired by the composer. His representation of the Orient is not a mere evocation of the Other, as is the case with most orientalist works, rather it reflects the composer’s desire to endow Western music with the purity, strength, and vivid colors which he discovered and admired in Indian music. The present paper presents the historical and artistic background which inspired and influenced Delage, the relationship between France and India in the early 20th century and reveals the composer’s idealistic point of view regarding India, its culture, and its music. The analysis focuses on the mélodie cycle Quatre poèmes hindous, composed between 1912 and 1913, striving to reveal the Indian influences in the work of Delage and the way orientalism is represented in French music from the first decades of the 20th century. Keywords: orientalism, France, India, 20th century, Maurice Delage"

The Relationship Between Microstructure and Mechanical Properties of Late 19th/Early 20th Century Wrought Iron Using the Generalized Method of Cells Model

2002 ◽  
Vol 712 ◽  
Author(s):  
Jennifer J. Hooper ◽  
Lori Graham ◽  
Tim Foecke ◽  
Timothy P. Weihs
Keyword(s):  
Mechanical Properties ◽  
20Th Century ◽  
Mechanical Response ◽  
Early 20Th Century ◽  
Inelastic Behavior ◽  
Silicate Slag ◽  
Wrought Iron ◽  
Generalized Method Of Cells ◽  
The Relationship

ABSTRACTThe discovery of the RMS Titanic has led to a number of scientific studies, one of which addresses the role that the structural materials played in the sinking of the ship. Chemical, microstructural, and mechanical analysis of the hull steel suggests that it was state-of-the-art for 1912 with adequate fracture toughness for the application. However, the quality of the wrought iron rivets may have been an important factor in the opening of the steel plates during flooding. Preliminary studies of Titanic wrought iron rivets revealed an orthotropic, inhomogeneous composite material composed of glassy iron silicate (slag) particles embedded in a ferrite matrix. To date, very little is understood about the properties of wrought iron from that period. Therefore, in order to assess the quality of the Titanic material, contemporary wrought iron was obtained from additional late 19th/early 20th century buildings, bridges, and ships for comparison. Image analysis completed on the Titanic wrought iron microstructure showed a high slag content that is very coarse and unevenly distributed. To investigate how microstructure impacts the mechanical properties, and hence the quality of late 19th/early 20th century wrought iron, a detailed analysis of the relationship between the microstructural features and the mechanical behavior was completed. Here we present the first step in that process: the use of the Generalized Method of Cells (GMC) to predict the mechanical response of composites with variable microstructural properties. The GMC tool is used to generate the effective inelastic behavior of the composite from the individual constituent properties.

Crossing over with Rubén Blades

1991 ◽  
Vol 44 (2) ◽  
pp. 301-323 ◽  
Author(s):  
Don Michael Randel
Keyword(s):  
Puerto Rico ◽  
Popular Music ◽  
English Language ◽  
Crossing Over ◽  
Hollywood Films ◽  
Ways Of Thinking ◽  
American Popular Music ◽  
Ruben Blades ◽  
Relationship Of ◽  
The Relationship

Having won two Grammy Awards, attracted considerable attention in the English-language media, and appeared in several Hollywood films, Latin popular singer Rubén Blades has been much discussed as a crossover, that is, as an artist who, with a well-defined audience (in this case Hispanic), produces work that appeals in addition to another audience (here the audience for mainstream American popular music). El Gran Combo de Puerto Rico, in contrast, continues to appeal to its traditional Hispanic audience and remains the undisputed leader in popularity with that audience. A comparison of a piece by El Gran Combo with one by Blades suggests ways of thinking about the relationship of both to their audiences and to each other and ways in which musicology might approach such questions in specifically musical terms. Blades is seen not to be crossing over from one audience to another but to represent transformations in his Hispanic audience, which is itself crossing over to become increasingly imbued with Anglo culture while remaining rooted in its own traditions.

scholarly journals GENERAL OVERVIEW TO DRUM KIT IN TURKISH POPULAR MUSIC DURING THE PERIOD 1970-1980

2018 ◽  
Vol 7 (46) ◽  
Keyword(s):  
Popular Music ◽  
20Th Century ◽  
Historical Development ◽  
Music History ◽  
Main Topic ◽  
Early 20Th Century ◽  
General Overview ◽  
Starting Point ◽  
Popular Music History ◽  
Set Up

The invention of Drum has been known to trace thousands of years.However, the drum kit came to exist in the early 20th century. Considering its historical development and our country's popular music history, development of this instrument in Turkey is the starting point of this research. In this study, the cults and playing attitudes that influenced the drummers, the location of drum kit in the studio environment, the set up prefrrences in the band with equipments used will be commented by analysing the data obtained via interviews. Within this framework, questions in 4 main topic have been asked to Osman İşmen and Turhan Yükseler, two of the significant arrangers of the period; Okay Temiz, one of the significant drummers of the period; Cahit Berkay, one of the founders of the band Moğollar; İsmail Soyberk, the bass-guitarist; the drummer Mert Türkmen as the representative of Cezmi Başeğmez. In accoedance with the data obtained, it has been concluded that jazz and rock drummers influenced our country, Anadolu Pop attitude was seen in the playing attitudes and set ups of that period drummers, Studio Hayri and sound technician Sıtkı Acim (tonmeister) rose to prominence in terms of studios where drum records were made, Ludwig drums were used together with Turkish brands in equipments. Keywords: Drum kit, drums, popular music, turkey, drummers, drum playing

scholarly journals On the Tragic Sense in Unamuno and Pessoa “Les fois que l’impossible au nécessaire se joint”

2020 ◽  
Author(s):  
Francesca Pasciolla
Keyword(s):  
Iberian Peninsula ◽  
20Th Century ◽  
Miguel De Unamuno ◽  
Early 20Th Century ◽  
Literary Creation ◽  
Fernando Pessoa ◽  
Mutual Awareness ◽  
The Relationship

To confront two major writers and, indeed, thinkers of the Iberian Peninsula in the early 20th century is a challenge to be embraced, albeit with some circumspection. In the process, the tense relationship between the discourses of literary creation and philosophical musing will be broached. The evidence of any mutual awareness of their respective writings in the case of Miguel de Unamuno and Fernando Pessoa is scant. Whilst there is no recognition in the former of the latter, the Portuguese author certainly knew enough of the writings of the prolific Spaniard to have published several texts wherein he rejected the thinking of his near-contemporary. Close examination, however, reveals that the relationship between the writings of the two is complex enough to bear further scrutiny.

Sign in / Sign up

Export Citation Format

Share Document