scholarly journals Transformations of folklorism in 20th-century Slovak composition

2015 ◽  
Vol 56 (4) ◽  
pp. 367-395
Author(s):  
Branko Ladič
Keyword(s):  
Folk Music ◽  
Classical Music ◽  
Large Body ◽  
Art Music ◽  
Folk Traditions ◽  
Simple Arrangement ◽  
Musical Practices ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S

Folkloristic musical works played an essential role in the creation of a ‘Slovak idiom’ in classical music of the post-war period. From the simple arrangement of folk songs to a more autonomous art music (which may have been only partly influenced by folk traditions) there existed a broad spectrum of musical practices, including also film music and music for the professional ‘folk music ensembles’ that appeared after 1948. By referring to specific examples from this large body of music, I will show how composers worked with harmonic and poetic elements that were particular to folk music: my discussion of examples from the breadth of this music — including music for the film Zem spieva ([The land sings], music by F. Škvor), the ‘model’ compositions for the ensemble SĽUK (A. Moyzes) and, finally, the subjective folklorism of the avantgarde in the 1960s and 1970s — shows how Slovak composers worked under changing ideological influences to bring about an ‘ennobling’ of folk music.

MINING THE ARCHIVES: A POTTERY SEQUENCE FOR BORNO, NIGERIA

2003 ◽  
Vol 1 (1) ◽  
pp. 39-76 ◽  
Author(s):  
Graham Connah ◽  
S.G.H. Daniels
Keyword(s):  
Large Body ◽  
Archaeological Research ◽  
Independent Data ◽  
Frankfurt Am Main ◽  
Archaeological Pottery ◽  
New Findings ◽  
History Of ◽  
1960S And 1970S ◽  
The 1960S ◽  
Johann Wolfgang Goethe

New archaeological research in Borno by the Johann-Wolfgang-Goethe-Universität, Frankfurt am Main, Germany, has included the analysis of pottery excavated from several sites during the 1990s. This important investigation made us search through our old files for a statistical analysis of pottery from the same region, which although completed in 1981 was never published. The material came from approximately one hundred surface collections and seven excavated sites, spread over a wide area, and resulted from fieldwork in the 1960s and 1970s. Although old, the analysis remains relevant because it provides a broad geographical context for the more recent work, as well as a large body of independent data with which the new findings can be compared. It also indicates variations in both time and space that have implications for the human history of the area, hinting at the ongoing potential of broadscale pottery analysis in this part of West Africa and having wider implications of relevance to the study of archaeological pottery elsewhere.

Conclusion

2017 ◽  
Author(s):  
Aled Davies
Keyword(s):  
International Monetary System ◽  
The State ◽  
Real Economy ◽  
Social Democratic ◽  
Monetary System ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S ◽  
City Of London ◽  
The City

The aim of this book has been to evaluate the relationship between Britain’s financial sector, based in the City of London, and the social democratic economic strategy of post-war Britain. The central argument presented in the book was that changes to the City during the 1960s and 1970s undermined a number of the key post-war social democratic techniques designed to sustain and develop a modern industrial economy. Financial institutionalization weakened the state’s ability to influence investment, and the labour movement was unable successfully to integrate the institutionalized funds within a renewed social democratic economic agenda. The post-war settlement in banking came under strain in the 1960s as new banking and credit institutions developed that the state struggled to manage. This was exacerbated by the decision to introduce competition among the clearing banks in 1971, which further weakened the state’s capacity to control the provision and allocation of credit to the real economy. The resurrection of an unregulated global capital market, centred on London, overwhelmed the capacity of the state to pursue domestic-focused macroeconomic policies—a problem worsened by the concurrent collapse of the Bretton Woods international monetary system. Against this background, the fundamental social democratic assumption that national prosperity could be achieved only through industry-led growth and modernization was undermined by an effective campaign to reconceptualize Britain as a fundamentally financial and commercial nation with the City of London at its heart....

The Politics of Banking and Social Democracy

2017 ◽  
Author(s):  
Aled Davies
Keyword(s):  
Banking System ◽  
Social Democracy ◽  
The Political ◽  
Social Democratic ◽  
Industrial Economy ◽  
The Social ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S ◽  
Political Demand

This chapter concerns the politics of managing the domestic banking system in post-war Britain. It examines the pressures brought to bear on the post-war settlement in banking during the 1960s and 1970s—in particular, the growth of new credit creating institutions and the political demand for more competition between banks. This undermined the social democratic model for managing credit established since the war. The chapter focuses in particular on how the Labour Party attempted in the 1970s to produce a banking system that was competitive, efficient, and able to channel credit to the struggling industrial economy.

Village life and Concert Hall: Is There a Connection?

2020 ◽  
Author(s):  
Diana Lawryshyn
Keyword(s):  
Creative Process ◽  
Folk Music ◽  
Classical Music ◽  
Western Music ◽  
Concert Hall ◽  
Folk Traditions ◽  
Contemporary Classical Music ◽  
One Step ◽  
Village Life ◽  
Insight Into

Ukrainian folk music has been embedded into much of the classical music we hear. Mykola Leontovych and Peter Wilhousky are credited for the ever-famous piece Carol of the Bells, an arrangement of a Ukrainian Epiphany carol called Shchedryk (Щедрик). Despite the applicability of Ukrainian folk-inspired music in our society, people are generally unaware of its origin. In fact, researcher Yakov Soroker provides evidence of Ukrainian folk inspiration in various classical pieces being misclassified as Russian, Polish, and/or Hungarian. Ukrainian classical music, for many reasons pertaining to its unstable history, is not well known outside Ukraine and, therefore, is rarely discussed. This has limited potential insights it might bring to those who have interest in its place in Western music. My research explores the influence that Ukrainian folk traditions have had on contemporary classical music. My research has come from gathering and sifting through historical literature about the origins of classical, Ukrainian classical, Ukrainian folk, and other folk music works. I have also listened to selected works and examined the critiques of experts to form conclusions about how composers today have been influenced, knowingly or otherwise, by Ukrainian folk music. Going one step further, in order to provide a deeper, practical insight into the creative process of composers who have been influenced by Ukrainian folk music, I have composed a piece of my own influenced by Ukrainian folklore. 

scholarly journals Musical Practices in the Funeral Context: A Case Study of Cemeteries in the Ljubljana Region in 2016

2017 ◽  
Vol 53 (1) ◽  
pp. 217-241
Author(s):  
Anita Prelovšek
Keyword(s):  
Popular Music ◽  
Folk Music ◽  
Classical Music ◽  
Instrumental Ensemble ◽  
Vocal Ensemble ◽  
Musical Practices

In Ljubljana and in its surroundings the music at a traditional funeral still consists usually of a vocal ensemble or a trumpet, but in 2016 this has increasingly tended to be replaced by a girl’s vocal and instrumental ensemble. The choice of music depends largely on the wishes of the relatives of the deceased. Folk music predominates, followed by popular music; the music requested least is classical music. The most frequently performed songs of the year 2016 were: Gozdič je že zelen, Lipa zelenela je and Nearer my God to Thee.

Stuart Hall's Discursive Turn

2019 ◽  
Vol 53 (2) ◽  
pp. 556-563
Author(s):  
JAY GARCIA
Keyword(s):  
Cultural Studies ◽  
Social History ◽  
Mass Culture ◽  
The United States ◽  
Intellectual Life ◽  
Consumer Capitalism ◽  
Stuart Hall ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S

Recalling his work as cofounder and contributor toUniversities and Left Review, or the ULR group, in the lead-up to the founding of cultural studies during the 1950s, Stuart Hall noted that much of that work had to do with the United States. “In geopolitical terms we were of course neutralists, hostile to the politics emanating from the State Department in Washington,” Hall wrote, “but culturally we were nonetheless attracted by the vitality of American popular life, indeed to the domain of mass culture itself.” If the ULR group and similar collectives shared an “anxiety about the stupendous power of the booming consumer capitalism of post-war America,” they were also united by an appreciation for the ways the “vitality and raucousness of American culture certainly loosened England's tight-lipped, hierarchical class cultures and carried inside it possibilities – or the collective dream? – for a better future, which we felt was a serious political loss to deny.” Not unrelatedly, by the 1960s and 1970s, cultural studies and certain quarters of American intellectual life were proceeding along comparable tracks. Many American scholars and at least some working in cultural studies moved toward social history that emphasized the “hidden experiences of subordinated groups and classes.” Undertaken in concert with the new social movements of the 1960s and 1970s, this version of social history would ramify widely, furnishing the very questions and analytic habits of many fields, not least American studies.

5. Absurdism, protest, and commitment

2016 ◽  
Author(s):  
Kirsten E. Shepherd-Barr
Keyword(s):  
Civil Rights ◽  
Vietnam War ◽  
Civil Rights Movement ◽  
Gay Rights ◽  
Modern Drama ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S ◽  
Many Sources ◽  
The Cold War

The decades 1960–80 witnessed a seismic shift in modern drama. The rage that came to define, and fuel, much of the drama in the 1960s and 1970s is directed at the audience. ‘Absurdism, protest, and commitment’ shows it is a post-war rage stemming from many sources: the Vietnam War, the Cold War, a feeling of betrayal by government and politicians, the Civil Rights Movement, Black Power, gay rights, feminism, the growing gap between rich and poor, and ethnic oppression. It is all about denying the audience what it expects of a play, provoking it out of real or perceived complacency, startling, and offending it. The plays of Pinter, Shepard, Beckett, Stoppard, Friel, and Fugard are discussed.

scholarly journals ‘Heading up a blind alley’? Scottish psychiatric hospitals in the era of deinstitutionalization

2016 ◽  
Vol 28 (1) ◽  
pp. 115-128 ◽  
Author(s):  
Vicky Long
Keyword(s):  
Institutional Care ◽  
Psychiatric Hospitals ◽  
Blind Alley ◽  
Department Of Health ◽  
Institutional Services ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S ◽  
The Uk ◽  
The City

This article examines Scottish provision of psychiatric care in the 1960s and 1970s. It demonstrates that institutional services did not rapidly disappear across the UK following the Ministry of Health’s decision to shut down psychiatric hospitals in 1961, and highlights Scotland’s distinctive trajectory. Furthermore, it contends that psychiatric hospitals developed new approaches to assist patients in this era, thereby contributing towards the transformation of post-war psychiatric practice. Connecting a discussion of policy with an analysis of provision, it examines the Department of Health for Scotland’s cautious response to the Ministry’s embrace of deinstitutionalization, before analysing Glasgow’s psychiatric provision in the 1970s. At this point the city boasted virtually no community-based services, and relied heavily on its under-resourced and overburdened hospitals. Closer analysis dispels any impression of stagnation, revealing how ideologies of deinstitutionalization transformed institutional care.

scholarly journals A Road Less Travelled: The American Biker Film of the 1960s and 1970s

2021 ◽  
Author(s):  
◽  
William Liell Carter
Keyword(s):  
Media Coverage ◽  
The United States ◽  
Ongoing Research ◽  
Hollywood Cinema ◽  
The Road ◽  
New Hollywood ◽  
The Media ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S

<p>In the period 1966-1974 there were at least forty independent, low-budget feature films made in the United States about motorcycle gangs. These films were inspired by media coverage of the notorious exploits of actual gangs in the post-War period. They depict bikers as violent libertines who live non-conformist lives and engage frequently in anti-social behaviour. The films are marked by motorcycle 'runs,' wild parties, brawls, and sexual violence. While the biker film has received some critical attention, it has not been analysed to the same extent as that more reputable and better known genre of the same period, the road movie. This thesis will expand on existing research by initially examining the factors that shaped the biker film, such as the media panic about real gangs, the influence of the counterculture, exploitation filmmaking, and New Hollywood cinema. The project will also investigate the narrative features of the genre, and link this analysis to debates around post-classical narration. Finally, the thesis will interpret the representation of gender in the biker film. This thesis will argue that the biker film should be situated within a continuum of male-oriented genres that involve violent spectacle. It will also make a contribution to the ongoing research on New Hollywood cinema.</p>

scholarly journals Dissenting Voices: Challenging the Colonial System

2019 ◽  
Vol 2 (1) ◽  
pp. 0
Author(s):  
Maartje Janse ◽  
Anne-Lot Hoek
Keyword(s):  
Academic Writing ◽  
Pressure Groups ◽  
East Indies ◽  
Colonial Experience ◽  
Long Time ◽  
History Of ◽  
Dutch East Indies ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S

This publication emerges from a process of co-creation in which historian Maartje Janse and research journalist Anne-Lot Hoek challenge the dominant national narrative about the colonial experience in the Dutch East Indies (present-day Indonesia). In combining journalistic and academic writing with musical performance by musician Ernst Jansz they amplify the critical voices that have spoken out against colonial injustice and that have long been ignored in public and academic debate. Even though it is often suggested that the mindset of people in the past prevented them from seeing what was wrong with things we now find highly problematic, they argue that there was indeed a tradition of colonial criticism in the Netherlands, one that included the voices of many ‘forgotten critics’ whose lives and criticism are the subject of this publication. The voices however were for a long time overlooked by Dutch historians. The publication is organized around the biographies of several critics (whose lives Janse and Hoek have published on before), the historical debate afterwards and includes reflective videos and texts on the process of co-creation.Maartje Janse started the process by tracing the life history of an outspoken nineteenth-century critic of the colonial system in the Dutch East Indies, Willem Bosch. The authors argue that it was not self-evident how criticism of colonial injustices should be voiced and that Bosch experimented with different methods, including organizing one of the first Dutch pressure groups.The story of Willem Bosch inspired Ernst Jansz, a Dutch musician with Indo roots, to compose a song (‘De ballade van Sarina en Kromo’). It is an interpretation of an old Malaysian ‘krontjong’ song, that Jansz transformed into a protest song that reminds its listeners of protest songs of the 1960s and 1970s. Jansz, in his lyrics, adds an indigenous perspective to this project. He performed the song during the Voice4Thought festival in 2016, a gathering that aimed to reflect upon migration and mobility in current times. Filmmaker Sjoerd Sijsma made a video ‘pamplet’ in which the performance of Ernst Jansz, an interview with Maartje Janse, and historical images from the colonial period have been combined.Anne-Lot Hoek connected Willem Bosch to a series of twentieth-century anti-colonial critics such as Dutch Indies civil servant Siebe Lijftogt, Indonesian nationalists Sutan Sjahrir, Rachmad Koesoemobroto, Dutch writer Rudy Kousbroek and Indonesian activist Jeffry Pondaag. She argues that dissenting voices have been underrepresented in the post-war debates on colonialism and its legacy for decades, and that one of the main reasons is that the notion of the objective historian was not effectively problematized for a long time.http://dissentingvoices.bridginghumanities.com/

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