scholarly journals Dorothea Gail, Weird American Music: Case Studies of Underground Resistance, BarlowGirl, Jackalope, Charles Ives, and Waffle House Music (Heidelberg: Winter, 2018), 413 pp.

2020 ◽  
Vol 65 (4) ◽  
pp. 537-539
Author(s):  
J. Greve
Keyword(s):  
Case Studies ◽  
American Music ◽  
Charles Ives ◽  
Underground Resistance ◽  
House Music

Weirdness at Midnight

2020 ◽  
pp. 109-122
Author(s):  
Grzegorz Welizarowicz
Keyword(s):  
Case Studies ◽  
American Music ◽  
Charles Ives ◽  
Underground Resistance ◽  
House Music

Dorothea Gail. Weird American Music: Case Studies of Underground Resistance, BarlowGirl, Jackalope, Charles Ives, and Waffle House Music. Universitätsverlag Winter, 2018, 413 pages.

scholarly journals Exploring Resistance Operating Concept. Promises and pitfalls of (violent) underground resistance

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Asta Maskaliūnaitė
Keyword(s):  
Case Studies ◽  
Scientific Literature ◽  
Operating Concept ◽  
Potential Problems ◽  
Underground Resistance

Abstract The paper aims to contribute to discussion on comprehensive defence development by looking into Resistance Operating Concept and Comprehensive Defence Handbook. These two documents are designed as a guide for the countries facing a formidable adversary to help them develop resistance (including violent) infrastructure before the potential invasion. After discussing the main tenets of the concept and suggesting a wider engagement with case studies and scientific literature on this and similar topics, the paper addresses the pitfalls and considerations of preparing such resistance in peacetime, focusing on five areas: C2, legitimacy, recruitment, potential problems in long-term and communication.

The “Othering” of Latin Jazz

Latin Jazz ◽  
2020 ◽  
pp. 112-141
Author(s):  
Christopher Washburne
Keyword(s):  
Popular Music ◽  
Case Studies ◽  
Latin American ◽  
American Music ◽  
Latin American Music ◽  
The Caribbean ◽  
Economic Marginalization ◽  
Latin Jazz ◽  
The 1960S

This chapter discusses various ways the Caribbean and Latin American music styles continued to share a common history with jazz from the 1940s to the 1960s, intersecting, cross-influencing, and at times seeming inseparable, as each has played seminal roles in the other’s development. Three case studies are discussed: the collaboration of Dizzy Gillespie and Chano Pozo, the Jazz Samba recording by Charlie Byrd and Stan Getz, and Mongo Santamaría’s “Watermelon Man” recording. In much of the jazz literature, these musicians and their seminal roles have been diminished or downright ignored. This chapter explores the reasons for these omissions and the systematic “othering” of Latin jazz. It examines the forces at play in their continued exclusion; explores how this omission is tied to the economic marginalization of jazz, racism, nationalism, tensions between art and popular music, and canon construction; and identifies what is at stake when Latin jazz is included.

Aspects of Copland's Development

Tempo ◽  
1971 ◽  
pp. 23-29
Author(s):  
Normal Kay
Keyword(s):  
American Music ◽  
European Language ◽  
Charles Ives ◽  
Intrinsic Quality ◽  
Nadia Boulanger ◽  
The Many ◽  
Single Figure

With Aaron Copland's maturity as a composer, American music gained a conscious identity, a persona, a style. Large claims, admittedly, but historically justified, even if it may be argued that they tell us little about the intrinsic quality of his work. About one thing, however, there can be no doubt: when Copland returned from his Parisian studies with Nadia Boulanger (1924), there was no style which could readily be accepted as quintessentially American—as a distillation of experience which belonged to that continent and to no other. There had been a number of brave attempts—composers who had seen the need to swing away from traditional European polarities—but no single figure had bridged the gap between his internal imagination and the responses of the outside world. This didacticism is necessary because of the extraordinary figure of Charles Ives—that enormous image that will loom over American music as long as it is played. Ives, an intrinsically richer personality, more copiously gifted, failed where Copland succeeded. The contrast between their personalities tells us more about the America they both idealised than any separate survey of their works could do. They are, in fact, the antitheses of American music. Both had the rare courage to bring their initially unwelcome attitudes into the full glare of public light, so that their impact could be openly assessed—a fact which would certainly not have been applicable to the many composers who were still vacillating between the accepted quasi-European language, and a kind of regressive provincialism.

Sonata for American Studies: Perspectives on Charles Ives

Prospects ◽  
1979 ◽  
Vol 4 ◽  
pp. 1-58
Author(s):  
Betty E. Chmaj
Keyword(s):  
New York ◽  
American Studies ◽  
New York Times ◽  
American Music ◽  
Frank Lloyd Wright ◽  
Charles Ives ◽  
Piano Works ◽  
American Composer ◽  
Twentieth Century Music ◽  
Norman Rockwell

For nearly forty years, the world of American music has sustained a state of astonishment over its discovery of Charles Ives. That he is America's Greatest Composer and one of the three or four greats of twentieth-century music (along with Schoenberg, Stravinsky, and possibly Bartok or Webern) is generally conceded, yet a fervor still surfaces when his champions announce, as Harold Schonberg did in 1974: “Nobody has had that kind of vision, that personality. … Nobody, nobody ever, and least of all any American composer, has achieved his combination of unorthodoxy, passion, bigness, sweetness and nostalgia.” To characterize his importance, his Americanness, his style, or his place in world and national culture, he is offered to us as the Walt Whitman of American music, our Emerson, our Thoreau, Mark Twain, Melville, Frank Lloyd Wright, Norman Rockwell, James Joyce, our modern Beethoven, “our Washington, Lincoln, and Jefferson” rolled into one. The enormous number of performances of Ives's music during the last ten years or so (there are more entries for Ives in recent Schwann and BMI orchestral catalogs than for any other American composer and almost any other modern one) has forced disbelievers to pay attention. When the New York Times “Music” column reported in 1968, under the breathless headline “Suddenly a Flurry of Ives,” that his piano works were being performed at home and abroad, the flurry had scarcely begun. For the Ives Centennial in 1974 and the nation's Bicentennial in 1976 brought even more performances, many recordings, three major Ives festivals, a musical based on his life, conferences, exhibits, and a spate of books—three by scholars with American Studies credentials, one of which was a revisionist biography designed to refute an “Ives Legend.”

Experimentalisms in Practice

2018 ◽  
Keyword(s):  
Case Studies ◽  
Latin American ◽  
The United States ◽  
American Music ◽  
Experimental Music ◽  
Latin American Music ◽  
Latin Americans ◽  
Musical Practices ◽  
Traditional Scholarship ◽  
Broad Approach

This book problematizes the notion of experimentalism as defined in conventional narratives about experimental musical practices. Contributors take a broad approach to a wide variety of Latin@ and Latin American music traditions conceived and/or perceived as experimental. The adoption of a plural “experimentalisms” points at a purposeful decentering of its usual US and Eurocentric interpretative frameworks. The case studies in this book contribute to this by challenging discourses about Latin@s and Latin Americans that have historically marginalized them. As such, the notion of “experimentalisms” works as a grouping, as a performative operation of sound, soundings, music, and musicking that gives social and historical meaning to the networks it temporarily conforms and situates. This book responds to recent efforts to reframe and reconceptualize the study of experimental music in terms of epistemological perspective and geographic scope, but also engages traditional scholarship about musical experimentalisms. Contributors provide important challenges in relation to the types of music that have been traditionally considered experimental and the reasons why scholars have adopted these perspectives. Included in this book are case studies localized in Argentina, Brazil, Colombia, Costa Rica, Cuba, México, Peru, and the United States, but with frequent regional, transnational, and postnational implications. This book contributes to the current conversations about music experimentalism while providing new points of entry to further reevaluate the field.

John Esputa, John Philip Sousa and the Boundaries of a Musical Career

2009 ◽  
Vol 6 (1) ◽  
pp. 27-46
Author(s):  
Patrick Warfield
Keyword(s):  
Nineteenth Century ◽  
American Music ◽  
Concert Band ◽  
First Century ◽  
Late Nineteenth Century ◽  
Charles Ives ◽  
Cultural Life ◽  
The World ◽  
History Of ◽  
Late Nineteenth

From the standpoint of the twenty-first century, the breadth of John Philip Sousa's career seems remarkable and unprecedented. His marches, of course, continue to dominate concert band programmes around the world. But Sousa was also a notably profitable composer of dances, songs and descriptive works that were once performed not only by bands, but also by orchestras, soloists and parlour musicians. His successful run as a theatre violinist, operetta composer, novelist and commentator made the Sousa name omnipresent in late nineteenth-century American cultural life. Given his considerable breadth and remarkable fame, it is hardly surprising that Sousa's name is found in seven of the 20 chapters that comprise the recent Cambridge History of American Music (second only to Charles Ives).

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