CHAPTER 1. Reading and Performance: Reproduction and Persons

2019 ◽  
pp. 26-49
Keyword(s):  
And Performance

Conclusion

2021 ◽  
pp. 241-262
Author(s):  
M.I. Franklin
Keyword(s):  
Case Studies ◽  
Music And Politics ◽  
And Performance ◽  
Politics Of Race ◽  
Political Economic

The Conclusion draws on the empirical findings of each chapter in order to theorize—reflect on—our way “out” of these case studies. It follows on from the conceptual and methodological themes laid out in Chapter 1, challenges presented to scholarship across the disciplinary spectrum that looks to locate and track where, and how, “politics” (of race, class, gender, and religion) are now being rendered as and through music. Chapter 7 recapitulates the main themes from each chapter as references to audio clips, suggested listening, in order to underscore the findings of this study: how music-and-politics and, or music-as-politics sound within, and between sociocultural and political economic settings. Getting closer to how these practices and sound archives work means taking into account creative practices and performance cultures not only of music making but also of music taking. This final chapter can also function as an introduction for the book as the flipside of Chapter 1.

Introduction

Kick It ◽  
2020 ◽  
pp. 1-8
Author(s):  
Matt Brennan
Keyword(s):  
Social History ◽  
Performance Practice ◽  
New Technologies ◽  
The Social ◽  
The Status ◽  
History Of ◽  
And Performance ◽  
Creative Artists

This chapter explains the motivations for researching the social history of the drum kit. It traces the history of drummer jokes and outlines the structure of the chapters to follow. Chapter 1 traces the racist roots of linking drummers to primitive stereotypes and contrasts this against the cleverness of drummers that culminated in the invention of the drum. Chapter 2 shows how drummers in fact contributed to redefining the boundaries between noise and music. Chapter 3 reveals how drummers developed new conventions of literacy while standardizing both the components and performance practice of their instrument. Chapter 4 examines the development of the status of drummers as creative artists. Chapter 5 looks at drumming as a form of musical labour. Chapter 6 considers attempts to replace the drum kit and drummers with new technologies, and how such efforts ultimately underscored the centrality of the drum kit as part of the contemporary soundscape.

Reformation Tragedy and Revelation

2019 ◽  
pp. 45-80
Author(s):  
Russ Leo
Keyword(s):  
Human History ◽  
Book Of Revelation ◽  
Fundamental Relationship ◽  
And Performance

Chapter 1 explores how Reformed dramatists and theologians alike turned to tragedy to comprehend escalating tensions in Reformation Europe. Dramatic experiments like Thomas Naogeorgus’ Pammachius, Francesco Negri’s Tragedia intitolata Libero Arbitrio, and John Foxe’s Christus Triumphans reframed the events depicted in the book of Revelation in deliberately tragic terms; the influential Heidelberg theologian David Pareus, in turn, described Revelation itself as a tragedy, tracing the origins of the genre to Scripture itself, laying claim to tragedy’s prophetic and literary resources in the process. Pareus not only recruited poetic concepts for exegetical purposes, he asserted the fundamental relationship between Scripture, tragedy, and the shape of human history. Across these works tragedy is crucial to the experience of Reformation—requiring, for the tragedians, flexible and experimental notions of form and performance and, for Pareus, supple approaches to tragedy and typology.

Queering the Global Filipina Body

2020 ◽  
Author(s):  
Gina K. Velasco
Keyword(s):  
Cultural Production ◽  
Visual Art ◽  
Heritage Language ◽  
Migrant Labor ◽  
Mail Order ◽  
Neoliberal Globalization ◽  
Language Programs ◽  
Mail Order Brides ◽  
And Performance

The “global Filipina body” is a ubiquitous sign of the Philippine nation that represents the exploitation of racialized and gendered Filipina migrant labor in a context of neoliberal globalization and US neoimperialism. Focusing on multiple iterations of the global Filipina body--the “mail-order bride,” the sex worker / trafficked woman, and the overseas contract worker (OCW)--within contemporary Filipina/o diasporic cultural production and global popular culture, this book argues that the global Filipina body represents both the failure of the heteropatriarchal Philippine nation to achieve sovereignty and the catalyst for discourses of anti-imperialist and revolutionary Filipina/o diasporic nationalism. The first half of the book critiques the heteronormativity and masculinism of representations of the global Filipina body as a sign of the Philippine nation, focusing on heritage language programs for Filipina/o Americans (chapter 1) and the Filipina/o American film Sin City Diary (chapter 2). The latter half of the book argues that the Filipina/o American artists the Mail Order Brides / M.O.B. and Gigi Otálvaro-Hormillosa queer the figure of the global Filipina body through their visual art and performance, presenting a queer and feminist intervention in the politics of nation and diaspora.

Introduction

2017 ◽  
Author(s):  
Gordon L. Clark ◽  
Ashby H. B. Monk
Keyword(s):  
Financial Markets ◽  
Institutional Investors ◽  
Financial Risk ◽  
Service Providers ◽  
Investment Strategies ◽  
Risk And Uncertainty ◽  
Key Points ◽  
Investment Returns ◽  
And Performance

It is acknowledged that institutional investors underpin the structure and performance of global financial markets. There is no doubt that the growth of institutional investors over the past fifty years has given global financial markets a remarkable depth of liquidity and scope of activities. At the same time, institutional investors rely on financial markets to frame and implement their investment strategies. Therefore, it is important to understand what is distinctive about this environment compared with those of other industries, especially manufacturing. In Chapter 1, the authors explain the significance of financial risk and uncertainty in the production of investment returns from a viewpoint of what could be termed a map of financial risk and uncertainty. The role and significance of institutional investors, including asset owners, managers and service providers, is highlighted. Concluding Chapter 1 is a summary of key points for the following chapters in the book.

Background and Rock Aesthetics

2019 ◽  
pp. 3-14
Author(s):  
Joseph Church
Keyword(s):  
Popular Music ◽  
Rock Music ◽  
Folk Art ◽  
Musical Theatre ◽  
Popular Song ◽  
History Of ◽  
And Performance

Chapter 1 gives historical and aesthetic context to the topic at hand. It begins with a brief description of the long-standing relationship between popular song and theatre song, and places both popular music and musical theatre in the realm of folk art. There is a brief review of the history of modern popular song and of musical theatre, and specification of the changes that the advent of rock music heralded in both industries. Next is a brief survey of rock music in the theatre, and the sometimes uncomfortable relationship between rock music and theatrical content and performance. Last is a discussion of rock aesthetics, which helps the reader understand the artistic basis of rock music and begin to apply this understanding to performance.

Excavating the Anarchive

2020 ◽  
pp. 31-70
Author(s):  
Lia Brozgal
Keyword(s):  
Cultural Production ◽  
Visual Representation ◽  
Cultural Productions ◽  
Truth In Fiction ◽  
Historical Accuracy ◽  
And Performance ◽  
October 17 ◽  
Over Time

Chapter 1 forms the essential foundation of the book, insofar as it names, describes, and thematises the contents of the anarchive—the cultural productions that have represented, directly or obliquely, the stories of October 17. While anarchive is presented in 3 “waves”--the original scene (1961-1963); the return to the scene (1983-1999); and the post-Papon anarchive (1999-)—the chapter nonetheless seeks to tease out the limits of periodization, calling attention to continuities over time. Chapter 1 also looks at trends and problems within the anarchive, investigating, in particular: the “turn,” in the 3rd wave, to visual representation and performance; debates about demands for historical accuracy and truth in fiction; and the anarchive’s relationship to scholarship on cultural production and memory. This analysis is also infused with a concern for epi-phenomenal and meta-textual matters, how issues of circulation, translation, marketing, authorial status, genre, and medium bear upon interpretation.

Toward a Definition of Piano Pedagogy

2019 ◽  
pp. 7-27
Author(s):  
Courtney Crappell
Keyword(s):  
Music Education ◽  
Academic Discipline ◽  
Piano Pedagogy ◽  
General Knowledge ◽  
Knowledge And Skills ◽  
Performance Training ◽  
Teacher Training Programs ◽  
And Performance ◽  
Definition Of

Chapter 1, “Toward a Definition of Piano Pedagogy,” seeks to define the discipline of piano pedagogy and describe its significance in preparing pianists for teaching careers. It begins with an outline of the historical emergence of pedagogy as an academic discipline and the formation of practical teacher-training programs. It then describes how collaborations between faculties in music education and performance led to the growing popularity of piano pedagogy coursework in the twentieth century. Finally, it seeks to demonstrate how studies in piano pedagogy combine the knowledge and skills acquired through performance training with general knowledge about music and education to more fully prepare artists for careers in teaching.

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