The Music Criticism and Aesthetics of George Bernard Shaw

2001 ◽  
Vol 35 (3) ◽  
pp. 63 ◽  
Author(s):  
Eugene Gates
Keyword(s):  
George Bernard Shaw ◽  
Music Criticism ◽  
Bernard Shaw

The Public Music Theory of George Bernard Shaw

2021 ◽  
Author(s):  
Nicole Biamonte
Keyword(s):  
Music Education ◽  
Music Theory ◽  
George Bernard Shaw ◽  
Late Nineteenth Century ◽  
Music Criticism ◽  
The Public ◽  
Musical Knowledge ◽  
Musical Understanding ◽  
Bernard Shaw ◽  
Technical Terms

George Bernard Shaw is best known today for his plays, but he first exercised his incisive wit as a drama and music critic in London, intermittently from 1876, regularly from 1888 to 1894, and intermittently again to the end of his life. Shaw explicitly intended to make his reviews both educational and accessible to the general public, combining performance critiques with broader considerations, including aspects of music theory and music education, and avoiding technical terms to the extent possible. Thus, his music criticism serves as an example of public music theory. This chapter surveys Shaw’s music-theoretic comments through this lens, analyzing what they demonstrate about his own musical understanding and underlying ideologies, the educational purpose of his reviews, and the level of musical knowledge he assumed on the part of his late nineteenth-century London readership.

Shaw's Contributions to Music Criticism

PMLA ◽  
1957 ◽  
Vol 72 (5) ◽  
pp. 1005-1017
Author(s):  
George S. Barber
Keyword(s):  
Life Span ◽  
George Bernard Shaw ◽  
Music Criticism ◽  
Routine Treatment ◽  
The Mind ◽  
Bernard Shaw ◽  
Critical Literature

The years 1856–1950 represent the life span of George Bernard Shaw, one of the most pungent, witty, and versatile geniuses to be absorbed into the mind of the thinking world. The years 1888–94 represent the six years which he devoted to the concentrated effort of writing music criticism, first for the Star (1888–89) and then for the World (1890–94). Yet, despite their value as important contributions to critical literature, and notwithstanding their worth as patently clear statements and applications of Shaw's theories of art and criticism, these works have received little more than routine treatment from even the best of Shavian scholars.

scholarly journals PYGMALION: A STUDY OF SOCIO-SEMANTICS

2015 ◽  
Vol 21 (2) ◽  
pp. 202
Author(s):  
Mirjam Anugerahwati
Keyword(s):  
Communicative Competence ◽  
George Bernard Shaw ◽  
The Novel ◽  
The Subject ◽  
Bernard Shaw ◽  
The Way

This article discusses the novel Pygmalionby George Bernard Shaw (1957) which depicts Eliza, a flower girl from East London, who became the subject of an “experiment” by a Professor of Phonetics who vowed to change the way she spoke. The story is an excellent example of a very real and contextual portrait of how language, particularly socio-semantics, play a role in the achievement of communicative competence.

scholarly journals Análise descritiva da tradução de Millôr Fernandes para o português da peça “Pygmalion”, de George Bernard Shaw

2008 ◽  
pp. 67-83
Author(s):  
Priscila Fernanda Furlanetto
Keyword(s):  
George Bernard Shaw ◽  
Bernard Shaw

As obras de um dos mais conhecidos humoristas brasileiros, Millôr Fernandes, já foram bastante exploradas pelos pesquisadores de uma forma geral. Mesmo assim, há ainda uma vertente desse autor a ser estudada: o Millôr Tradutor.

Millennial Dark Ladies

2021 ◽  
Vol 33 (2) ◽  
pp. 79-92
Author(s):  
Katherine Scheil
Keyword(s):  
Women Writers ◽  
George Bernard Shaw ◽  
Central Figure ◽  
Anthony Burgess ◽  
Victorian Period ◽  
The Subject ◽  
Bernard Shaw

The Dark Lady evoked in Shakespeare’s Sonnets has been the subject of numerous speculations since the Victorian period. Several male writers and critics – George Bernard Shaw, Frank Harris, A. L. Rowse and Anthony Burgess, for example – have undertaken extended imaginative explorations of this alternative woman. More recently, the Dark Lady has become a central figure in millennial novels by women writers, designed primarily for a female reading audience. This article considers what’s at stake by placing this imaginary woman at the heart of Shakespeare’s artistic inspiration, and what this tells us about the meaning(s) of ‘Shakespeare’ for contemporary women writers and readers.

J. M. Barrie’s Gothic: Ghosts, Fairy Tales and Lost Children

2017 ◽  
pp. 155-167
Author(s):  
Sarah Dunnigan
Keyword(s):  
Recent Work ◽  
Fairy Tales ◽  
George Bernard Shaw ◽  
Peter Pan ◽  
Bernard Shaw

In his obituary of J. M. Barrie, George Bernard Shaw called his plays ‘terrifying’. Although Peter Pan (first performed in 1904) had long become a cherished children’s fantasy and a staple of Christmas theatricals, Shaw seemed more perturbed than enchanted by it (1993: 151). Barrie is seldom described as a Gothic writer, although his own well-known and often reductively understood biography has been ‘Gothicised’ into a dark psycho-narrative. Rather than use the latter to suggest Barrie’s election to the Scottish Gothic canon, this chapter takes its cue from recent work by R. D. S. Jack (2010), Valentina Bold and Andrew Nash (2014) and others, who demonstrate how Barrie is a writer of complexity and contradiction. The generic and thematic range of Barrie’s writing means that he is not a consistent or fully fledged Gothic writer but nevertheless Gothicism still inks a recurrent pattern of motifs and ideas in his work.

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