scholarly journals Glam “Heroines”. Gaps in Glam Historicisation from Black Self-Feminised Musicians to the Herstory of Glam Rock

2021 ◽  
Vol 13 (2) ◽  
pp. 7-20
Author(s):  
Katharina Alexi
Keyword(s):  
Black Musicians ◽  
Gender And Race ◽  
Music Making ◽  
Musical Canon

The narration of glam music, especially glam rock, as queer is countered by a canonisation of male white icons in pop musicology, which is illuminated and expanded in this article. Early glam performances by self-feminised Black musicians (Ward 1998) as well as the music making of female agents of glam rock are at the center of this exploration. Firstly, an outline of the current gender and race specific remembrance of glam rock is given. Secondly, the “glamorous” origins of glam music are questioned with Ward; musical canon of glam is also re-arranged regarding the category of gender by adding the basic biographies of two further female heroines, Bobbie McGee and Cherrie Vangelder-Smith. They are present in digital (DIY) media within practices of affective archiving (Baker 2015), which enable lyrics interpretation in this paper.

Provinces versus metropolis in the British brass band movement in the early twentieth century: the case of William Rimmer and his music

Popular Music ◽  
1997 ◽  
Vol 16 (2) ◽  
pp. 151-163 ◽  
Author(s):  
Duncan Bythell
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Annual Cycle ◽  
British Isles ◽  
Mass Market ◽  
Brass Band ◽  
Music Making ◽  
Educational Role ◽  
Opera House ◽  
Musical Canon

In recent years, historians have belatedly recognised the growth of the British brass band as one of the most remarkable developments in the sphere of popular music-making in the second half of the nineteenth century. Not only did ‘banding’ provide an absorbing pastime for tens of thousands of amateur musicians, but brass band performances also fulfilled an important cultural and educational role in introducing the standard classics of the bourgeois musical canon to mass audiences who never saw the inside of an opera house or a concert hall. In addition, satisfying the needs of these new-style bands for music, instruments, uniforms and other impedimenta led to the growth of a group of small, specialised and resourceful enterprises which successfully developed a mass market for their wares in Britain and the colonies. By the end of the 1890s, there could have been few towns or villages, whether in the remoter parts of the British Isles or even the most far flung corners of the white dominions, where some kind of brass band did not add its distinctive tones to the annual cycle of formal and informal events which made up their community's social calendar.

Framing Issues in Gender and Race

PsycCRITIQUES ◽  
2009 ◽  
Vol 54 (1) ◽  
Author(s):  
Carol A. Gosselink
Keyword(s):  
Gender And Race

Music of Tragedy

2017 ◽  
Author(s):  
Naomi A. Weiss
Keyword(s):  
Cultural Context ◽  
Musical Language ◽  
New Approach ◽  
Late Work ◽  
Music Making ◽  
Dramatic Action ◽  
Instrumental Accompaniment ◽  
And Performance

The Music of Tragedy offers a new approach to the study of classical Greek theater by examining the use of musical language, imagery, and performance in the late work of Euripides. Drawing on the ancient conception of mousikē, in which words, song, dance, and instrumental accompaniment were closely linked, Naomi Weiss emphasizes the interplay of performance and imagination—the connection between the chorus’s own live singing and dancing in the theater and the images of music-making that frequently appear in their songs. Through detailed readings of four plays, she argues that the mousikē referred to and imagined in these plays is central to the progression of the dramatic action and to ancient audiences’ experiences of tragedy itself. She situates Euripides’s experimentation with the dramaturgical effects of mousikē within a broader cultural context, and in doing so, she shows how he both continues the practices of his tragic predecessors and also departs from them, reinventing traditional lyric styles and motifs for the tragic stage.

Making Sense of Religion and Food

2017 ◽  
Vol 46 (2) ◽  
pp. 18-24 ◽  
Author(s):  
Emily Bailey
Keyword(s):  
Graduate Students ◽  
Social Structure ◽  
Biological Information ◽  
Approaches To Teaching ◽  
Cultural System ◽  
Gender And Race ◽  
Religious Traditions ◽  
Making Sense ◽  
Mary Douglas ◽  
Pedagogical Approaches

When looking at eating beyond physical nourishment, British anthropologist Mary Douglas (1921-2007) defined food as a cultural system, or code that communicates not only biological information, but social structure and meaning. What can a study of food and faith teach us, as scholars of religion, that we might not otherwise know? This article outlines thematic and pedagogical approaches to teaching food and religion through the lens of five semesters of teaching this course to undergraduate and graduate students. In it, I explore the topics of Food memory and community; Food and scripture; Food, gender and race; and Stewardship and Charity, thinking about spiritual and physical nourishment in the world's major religious traditions.

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