Vivien Goldman, Revenge of the She-Punks: A Feminist Music History from Poly Styrene to Pussy Riot.

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Judit Csobod
Keyword(s):  
Music History ◽  
Pussy Riot

Liszt at the Piano: The Impact of Iconography on mid-Nineteenth Century Musicology

2014 ◽  
Vol 55 (1-2) ◽  
pp. 131-144
Author(s):  
Suzanne Marie Francis
Keyword(s):  
Nineteenth Century ◽  
Music History ◽  
Collective Identities ◽  
Cultural Contexts ◽  
Maximum Benefit ◽  
Starting Point ◽  
The Social ◽  
Iconic Status ◽  
The Impact

By the time of his death in 1827, the image of Beethoven as we recognise him today was firmly fixed in the minds of his contemporaries, and the career of Liszt was beginning to flower into that of the virtuosic performer he would be recognised as by the end of the 1830s. By analysing the seminal artwork Liszt at the Piano of 1840 by Josef Danhauser, we can see how a seemingly unremarkable head-and-shoulders bust of Beethoven in fact holds the key to unlocking the layers of commentary on both Liszt and Beethoven beneath the surface of the image. Taking the analysis by Alessandra Comini as a starting point, this paper will look deeper into the subtle connections discernible between the protagonists of the picture. These reveal how the collective identities of the artist and his painted assembly contribute directly to Beethoven’s already iconic status within music history around 1840 and reflect the reception of Liszt at this time. Set against the background of Romanticism predominant in the social and cultural contexts of the mid 1800s, it becomes apparent that it is no longer enough to look at a picture of a composer or performer in isolation to understand its impact on the construction of an overall identity. Each image must be viewed in relation to those that preceded and came after it to gain the maximum benefit from what it can tell us.

The Subordinate Theme in the First Movement of Schubert's "Unfinished" Symphony

2019 ◽  
Vol 6 (2) ◽  
pp. 223-230
Author(s):  
Steven Vande Moortele
Keyword(s):  
Large Scale ◽  
Music History ◽  
Formal Organization ◽  
Sonata Theory

This analytical vignette explores the internal formal organization of the subordinate theme in the first movement of Schubert's "Unfinished" Symphony, D. 759 (1822). Drawing both on Hepokoski and Darcy's sonata theory and on Caplin's theory of formal functions, it shows how the entire theme can be understood as a single large-scale sentence. It is further argued that the theme's specific formal organization, as well as the extent to which it does or does not open up to theories originally designed for the analysis of music from the classical era, is characteristic of works from this period in music history.

1989: Conclusion and Epilogue

2018 ◽  
Author(s):  
Raymond A. Patton
Keyword(s):  
Cold War ◽  
Public Opinion ◽  
Orthodox Church ◽  
Pussy Riot ◽  
Cold War Era ◽  
East And West ◽  
The Cold War ◽  
New Framework

The conclusion condenses the book’s argument that punk developed through networks that crossed all three worlds through intertwined phenomena of immigration, postmodernism, and globalization; that punks and societies’ reactions to it defied and subverted the fundamental assumptions and categories of the Cold War era; and that punk provoked a realignment away from sociopolitical, ideological categories and toward a new framework emphasizing identities as conservatives and progressives. It briefly examines the post-1989 punk scenes of the East and West; many punks felt as dissatisfied with the global neoliberal order as they were with the Cold War world and often joined the new antiglobalization movements of the East and West. It concludes with the example of Pussy Riot in Russia, which shows that punk retained its power to consolidate forces of reaction (Putin, the Orthodox Church, and conservative public opinion) and cultural progressives alike long after the end of the Cold War.

Nashville Cats

2020 ◽  
Author(s):  
Travis D. Stimeling
Keyword(s):  
Music History ◽  
Country Music ◽  
Primary Sources ◽  
Recording Industry ◽  
Global View ◽  
Production And Distribution ◽  
History Of ◽  
The 1950S ◽  
Hall Of Fame ◽  
The City

Nashville Cats: Record Production in Music City, 1945–1975 is the first history of record production during country music’s so-called Nashville Sound era. This period of country music history produced some of the genre’s most celebrated recording artists, including Country Music Hall of Fame inductees Patsy Cline, Jim Reeves, and Floyd Cramer, and marked the establishment of a recording industry that has come to define Nashville in the national and international consciousness. Yet, despite country music’s overwhelming popularity during this period and the continued legacy of the studios that were built in Nashville during the 1950s and 1960s, little attention has been given to the ways in which recording engineers, session musicians, and record producers shaped the sounds of country music during the time. Drawing upon a rich array of previously unexplored primary sources, Nashville Cats: Record Production in Music City, 1945–1975 is the first book to take a global view of record production in Nashville during the three decades that the city’s musicians established the city as the leading center for the production and distribution of country music.

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