Foxtrot

2018 ◽  
Author(s):  
Susan C. Cook
Keyword(s):  
Twentieth Century ◽  
African American ◽  
Popular Music ◽  
Early Years ◽  
Grizzly Bear ◽  
Ballroom Dance ◽  
One Step ◽  
Rock N Roll ◽  
The One ◽  
Current Practices

The foxtrot emerged circa 1914, most likely within African American practices, as a variation on the older duple meter one step popular with dancers since the early years of the twentieth century. The name foxtrot suggests a relationship with earlier trotting animal dances such as the turkey trot or grizzly bear and led to claims that it was the "invention" of the comic Harry Fox. While the one step, at its simplest, consisted of an easy walking step corresponding to each beat of 2/4 meter syncopated up tempo music, foxtrotters varied this duple meter walk through a combination of two slow and four quick steps danced over four beats of music. This combination, along with later variants such as two slow and two quick steps, proved to be extraordinarily versatile as dancers responded to popular music in a variety of tempi and corresponding emotional affects. The foxtrot’s versatility and up-to-date modernity ensured a transatlantic popularity that extended well into the rock ’n’ roll era and remains central to current practices of professional and amateur ballroom dance and Dansport.

Modern Ballroom Dancing

2018 ◽  
Author(s):  
Juliet McMains
Keyword(s):  
Twentieth Century ◽  
Lower Class ◽  
Physical Contact ◽  
Social Progress ◽  
Ballroom Dancing ◽  
Public Controversy ◽  
Production And Distribution ◽  
Ballroom Dance ◽  
One Step ◽  
The One

Twentieth-century modern ballroom dancing differed from social dancing of the nineteenth century in its shift in focus from group cohesion to individual personal style. This focus on personal expression paralleled Progressive Era values that emphasized free will and individual action as a means to social progress. Through the use of the closed hold, many modern dances (including the one-step, the Castle Walk, the maxixe, the tango, and the foxtrot) brought partners into closer proximity for extended periods of time. The resulting physical contact of partners combined with the unpredictability of movement inspired by the accompanying ragtime evoked public controversy over the propriety and decency of modern dances. From the 1910s through the 1950s, these dances were standardized by an American modern ballroom dance industry capitalizing on new means of mass production and distribution to sell ‘‘refined’’ versions of these dances (all of which were of lower-class origin) for consumption by upwardly mobile clientele. The codification of modern dances for mass dissemination, however, eliminated many of their defining modern features, particularly personal expression through improvisation. Modern ballroom dances as interpreted by the English became the basis for ballroom dance competitions exported internationally by the Imperial Society of Teachers of Dancing throughout the twentieth century.

The 1904 epidemic of cholera in Persia: some aspects of qājār society

1988 ◽  
Vol 51 (2) ◽  
pp. 258-270 ◽  
Author(s):  
R. M. Burrell
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Indian Subcontinent ◽  
Medical Knowledge ◽  
Early Years ◽  
Original Source ◽  
Source Of Infection ◽  
The World ◽  
Ancient Times ◽  
The One

Of all the diseases which afflicted mankind in the nineteenth century cholera has a good claim to the unenviable title of being the most dreaded. It was certainly the one which prompted the first sustained efforts to devise and implement international sanitary conventions. The reasons why cholera was so feared are many. Until the second decade of the century it was confined to the Indian subcontinent—where it had probably existed since ancient times—and medical knowledge of it elsewhere was practically nil. In 1817, however, maritime trade carried the infection to other lands and thus began the first period of diffusion which lasted for some six years. By the early years of the twentieth century a further five massive epidemics had occurred, almost every country in the world had been affected and the cumulative death toll was measured in millions. Persia, being so close to the original source of infection, suffered in every one of those epidemics and also from several other more limited and localized outbreaks.

scholarly journals On the Question of Stepwise [4+2] Cycloaddition Reactions and Their Stereochemical Aspects

Symmetry ◽  
2021 ◽  
Vol 13 (10) ◽  
pp. 1911
Author(s):  
Radomir Jasiński
Keyword(s):  
Twentieth Century ◽  
Reaction Mechanism ◽  
Critical Analysis ◽  
Alder Reaction ◽  
Diels Alder ◽  
Cycloaddition Reactions ◽  
Diels Alder Reaction ◽  
One Step ◽  
The One ◽  
The Way

Even at the end of the twentieth century, the view of the one-step [4+2] cycloaddition (Diels-Alder) reaction mechanism was widely accepted as the only possible one, regardless of the nature of the reaction components. Much has changed in the way these reactions are perceived since then. In particular, multi-step mechanisms with zwitterionic or diradical intermediates have been proposed for a number of processes. This review provided a critical analysis of such cases.

Rabbit's Blues

2019 ◽  
Author(s):  
Con Chapman
Keyword(s):  
Twentieth Century ◽  
African American ◽  
John Coltrane ◽  
The World ◽  
American Tradition ◽  
Jazz History ◽  
Romantic Music ◽  
African American Tradition ◽  
Rock N Roll

The book explores the career of Johnny Hodges, at one time one of the most famous saxophone players in the world. He was closely identified with Duke Ellington’s orchestra, playing with that seminal jazz group for nearly four decades, with only a four-year break in the early 1950s, when he led a band of his own. Just a few years after his death, however, he would be largely forgotten and his style considered passé. The book details why Hodges deserves reconsideration: he helped codify the vocabulary and syntax of his instrument in a jazz context, drawing inspiration from Sidney Bechet and Louis Armstrong, but adding stylistic touches of his own and keeping the Ellington band anchored in the African American tradition of the blues. He recorded with the giants of his day—Billie Holiday, Lionel Hampton, Earl Hines, Teddy Wilson, and John Coltrane. With Wild Bill Davis, he invented the organ-sax combo. Hodges was one of Ellington’s leading composing lieutenants, serving as an inexhaustible source of riffs that Ellington frequently fashioned into longer works. He may even have a partial claim to the first rock ‘n’ roll song, as his group’s “Castle Rock” was recorded the same day as the earliest recording date for “Rocket 88.” Johnny Hodges’s story is an atypical jazz history; a taciturn and undemonstrative man who lived a quiet life, never succumbing to drink or drugs, he nonetheless created some of the most romantic music of the twentieth century.

scholarly journals The Historiography of the Twentieth-Century Classical Performer: Life, Work, Artistry

2021 ◽  
pp. 1-24
Author(s):  
Adam Behan
Keyword(s):  
Twentieth Century ◽  
Popular Music ◽  
The Other ◽  
Division I ◽  
Popular Music Studies ◽  
The One ◽  
Empirical Approaches ◽  
Life Work ◽  
Historical Legacies ◽  
Artistic Research

Abstract One dominant issue in the writing of music histories is the question of how (or indeed whether) a musician's life and work can be interwoven convincingly. In recent years, music biographers have begun to reassess the historical legacies of many significant musicians with this issue in mind, but their critical reflections have for the most part focused on composers. This article seeks to transfer some of this rethinking – particularly on the life/work question – to the twentieth-century classical performer. Doing so reveals a historiography of the performer which sharply divides life and work in a way that is disciplinarily entrenched between biographical approaches on the one hand and empirical approaches to recordings on the other. After illustrating the nature and development of this division, I conclude by calling for greater scholarly convergence and suggest two directions forward, taking leads from artistic research and popular music studies in doing so.

Marriage

2017 ◽  
Author(s):  
Ethelene Whitmire
Keyword(s):  
New York ◽  
New York City ◽  
African American ◽  
Young Women ◽  
Early Years ◽  
Long Distance ◽  
Her Family ◽  
Delta Sigma ◽  
The One ◽  
Distance Relationship

This chapter narrates Regina's romances and culminates in her marriage. Regina, like many young women in New York City, had a dating life that was complicated, diverse, and mysterious. She had more than one fiancé, a long distance relationship, a possible affair with a Jewish writer, and a secret lover—the author of a “Dear Reggie” letter who may have been the one she truly loved though her family disapproved of the liaison. During the early years of her marriage, Regina was involved with the local Rho chapter of Delta Sigma Theta, an African American sorority, and served as the president. Famous past and present members of the sorority include Lena Horne, Mary McLeod Bethune, Mary Church Terrell, Barbara Jordan, Judith Jamison, Wilma Rudolph, and Nikki Giovanni, among others.

‘A song goes round the world’: the German Schlager, as an organ of experience

Popular Music ◽  
2000 ◽  
Vol 19 (2) ◽  
pp. 147-180 ◽  
Author(s):  
Brian Currid
Keyword(s):  
Twentieth Century ◽  
Cultural Studies ◽  
Visual Culture ◽  
Popular Music ◽  
Mass Culture ◽  
Early Years ◽  
Music Practice ◽  
Siegfried Kracauer ◽  
Precise Understanding ◽  
Modern Mass

In recent work in film and cultural studies, the set of social configurations, practices of everyday life, and ideological formations that constitute twentieth-century ‘modernity’ have been increasingly the subject of research and debate. Fuelled by a renewed interest in critical phenomenologies of modernity, most prominently the work of Walter Benjamin and Siegfried Kracauer, scholars have focused the debate on the specific historicity of visual culture in the early years of the twentieth century, in order to illuminate the contradictory and fragmented nature of modern mass cultural experience. Fusing the theoretical traditions of critical theory with the empirical and theoretical interest in contradiction and contestation typical of cultural studies, not only does this debate open new perspectives for considering the problem of mass and/or ‘popular’ visual culture, it can also contribute to rethinking the way we discuss the historicity of popular music. Conversely, a more precise understanding of the historicity of popular music practice in modern mass culture, its institutions and modes of experience, can broaden the scope of this debate beyond the spectacles of visual culture to the ‘attractions’ of the acoustic.

One Step

2018 ◽  
Author(s):  
Susan C. Cook
Keyword(s):  
United States ◽  
African American ◽  
World War I ◽  
The United States ◽  
World War ◽  
American Composer ◽  
Musical Practices ◽  
One Step ◽  
The Common ◽  
The One

In the years before the entry of the United States into World War I, the One Step replaced the Two Step as the common popular dance. As the name suggests, it signaled a new relationship between dance step and musical meter. Whereas the Two Step, popular since the 1890s, consisted of a skipping step to music in 6/8 meter, the One Step featured a step, glide, or trot on each beat of duple-meter music marked by the syncopated and dotted rhythms long associated with African American musical practices. African American composer and bandleader James Reese Europe similarly proclaimed the One Step "the national dance of the negro."

New insights into the controversy surrounding marine biological laboratory (Marine Station) facilities in the Firth of Clyde in the early twentieth century

2015 ◽  
Vol 42 (1) ◽  
pp. 165-170
Author(s):  
P. G. Moore
Keyword(s):  
Twentieth Century ◽  
Early Years ◽  
Marine Biological Laboratory ◽  
Biological Station ◽  
Marine Biological ◽  
Biological Laboratory ◽  
Early Twentieth Century ◽  
Marine Station ◽  
Regius Professor ◽  
Adjacent Island

Three letters from the Sheina Marshall archive at the former University Marine Biological Station Millport (UMBSM) reveal the pivotal significance of Sheina Marshall's father, Dr John Nairn Marshall, behind the scheme planned by Glasgow University's Regius Professor of Zoology, John Graham Kerr. He proposed to build an alternative marine station facility on Cumbrae's adjacent island of Bute in the Firth of Clyde in the early years of the twentieth century to cater predominantly for marine researchers.

Songs of the spirit from Dufftown

2019 ◽  
Vol 70 (1) ◽  
pp. 36-54
Author(s):  
Shelagh Noden
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Church Music ◽  
Early Years ◽  
Liturgical Music

Following the Scottish Catholic Relief Act of 1793, Scottish Catholics were at last free to break the silence imposed by the harsh penal laws, and attempt to reintroduce singing into their worship. At first opposed by Bishop George Hay, the enthusiasm for liturgical music took hold in the early years of the nineteenth century, but the fledgling choirs were hampered both by a lack of any tradition upon which to draw, and by the absence of suitable resources. To the rescue came the priest-musician, George Gordon, a graduate of the Royal Scots College in Valladolid. After his ordination and return to Scotland he worked tirelessly in forming choirs, training organists and advising on all aspects of church music. His crowning achievement was the production, at his own expense, of a two-volume collection of church music for the use of small choirs, which remained in use well into the twentieth century.

Sign in / Sign up

Export Citation Format

Share Document