The three stage shows written in collaboration by Leslie Bricusse and Anthony Newley—Stop the World—I Want to Get Off (1961), The Roar of the Greasepaint, the Smell of the Crowd (1964), and The Good Old, Bad Old Days (1972)—are unlike anything that preceded them in the British musical theatre: minimalist, metatheatrical, drawing on contemporary developments in other arts, and ultimately dependent on the persona of Newley, their co-writer and star. This chapter examines the collaboration between Bricusse and Newley, its influences and legacy, as well as the work each did without the other—Newley’s history of musical autobiography and Bricusse’s many literary adaptations.
This chapter analyzes the processes of transporting community-based dance practices to the stage, and argues that previously dominant formulations of “appropriation” are not complex enough to theorize this “political economy” of dance practices, practitioners, and audiences as dance forms move across cultural communities and onto the stage. Taking three disparate case studies as a way of thinking through these issues, this chapter investigates works by Twyla Tharp on Broadway, by Chuck Davis and his African American Dance Ensemble on stages in New York or Durham, NC, and Hawaiian hula performances in tourist venues and local halaus, or studios, to suggest that a more complex goal and sharper theoretical practice would be to literally track the political economy of dance practices, the accrual of monetary and cultural capital, and the ways that meanings change for performers and audience when dances move across cultural and commercial/non-commercial boundaries.
This article explores the musical experiences of children in South Korea. It describes Korean social settings and educational priorities, the scope of children’s daily lives, and their musical involvements and environments. South Korea children have access to various music styles, and are exposed to rich musical environments in their developmental years. Music is a mandatory subject in South Korean schools, and parents support children’s music learning in their early years of schooling. However, by adolescence the attention to music wanes as families shift their attention to children’s studies to prepare them for successful college entrance examinations. Children find music in various places, be it at home, in shopping centers and public spaces, or community venues, and technologies are critical to their listening pleasure.
This article has been commissioned as part of the forthcoming Oxford Handbook of Music Revival edited by Caroline Bithell and Juniper Hill. With reference to processes of music revival, this chapter offers a framework for theorizing the shift from “tradition” to “heritage.” The first part examines revivals as decontextualizations, metaphorical transformations, and shifts between different historic, geographic, social, and cultural contexts. The second part analyzes changes in folk music as consequences of shifting control over the field of folk music, from knowers to doers and marketers, resulting in medialization, festivalization, and professionalization. The third part analyzes the global trend toward heritagization, which replaces old notions of folk music as tradition with “heritage,” a new mode of cultural production. In conclusion, it is argued that in as much as “tradition” can be understood as a mindscape mirroring modernity, “heritage” can be seen as another kind of mindscape, a homogenizing counterforce to the diversifying and globalizing forces of post- or late modernity.
This chapter focuses on the structure of music teacher preparation programs, how they currently accommodate technology studies, and how they might do so in the future. The chapter discusses music technology skill development and the roles of faculty in overseeing skill development under the theoretical model known as technological pedagogical and content knowledge (TPACK). The chapter concludes with suggestions for researching the complex task of integrating technology into music preparation.
Jane Freeman Moulin
This article has been commissioned as part of the forthcoming Oxford Handbook of Music Revival edited by Caroline Bithell and Juniper Hill. Before each feature screening since 1992, the Hawai‘I movie theater chain Consolidated Amusement has projected a well-known trailer that embeds icons of the Hawaiian Renaissance through its portrayal of traditional hula dancers accompanied by the sounds of ancient chant and drums. Hula and chant link firmly to identity expression in these islands, raising questions concerning the trailer’s ongoing role as the longest running trailer in Hawai‘i’s history. Drawing from interviews with the producer, public surveys, and writings of Native Hawaiian scholars, this chapter examines the cinematic image of the trailer as a vehicle for cultural meaning. Far from being a simple promotional device of the entertainment industry, this trailer engages contemporary perceptions of place and culture in an ethnically pluralistic Hawai‘I that continues to embrace the values of the 1970s Renaissance period through revivalist imagery that frames political and cultural action in a post-Renaissance world.
This chapter tells the story of the revival of interest in Karelian music in the Finnish-Russian border region of Karelia after the Cold War. During this tense time, Karelians had been subjected to territorial divisions and harsh assimilation policies. With Perestroika came new stores of Karelian culture under the influence of developments taking place across the Nordic and Baltic regions. This was a scenario for Karelians in both countries to express their sense of belonging in new ways, and music once again became a medium for this. The author draws on fieldwork in the Karelian town of Petrozavodsk since 1992 and uses two bands from there as focal points for exploring consciousness in the region and beyond in wider international trajectories in Central Europe, Scandinavia, and the United States.
Transatlantic music studies is a growing field in music scholarship that investigates music, musicians, and ideas about music that circulated around the Atlantic Ocean from the fifteenth century to today. It is an interdisciplinary field that draws on Atlantic history to understand how music was shaped by—and helped to shape—the Atlantic world. Transatlantic music studies makes two significant contributions to musicology: it brings a distinctly transnational orientation to scholarship, and it highlights the important role of intercultural encounter and the contributions of non-white musicians in Western music history, particularly in the early modern period. This essay outlines the parameters and theoretical precepts of transatlantic music studies and delineates three methods for pursuing research: tracing the circulation of ideas and materials; conducting micro-historical investigations of the experiences of individuals; and mapping key locations in the cis- and circum-Atlantic world.
This chapter considers how the use of screendance within performances and installations affects the ways in which audiences and participants experience bodies in space by transcending the dimensions ascribed to them traditionally by the material world and the projection screen. Mixed reality and “ubiquitous computing” are increasingly embedded in our social and cultural experiences, and three dance or dance-related examples that use them are examined: Merce Cunningham’s Biped, igloo’s SwanQuake: House, and Paul Sermon’s Telematic Dreaming. Virtual reality can have a realistic perspective that creates an environment comparable to the physical world, or it can challenge Euclidean space and Newtonian physics by highlighting phenomena that can only exist in the virtual world—yet both of these can create binaries that disrupt embodied experiences by prioritizing concept over sensation. Dance has much to offer in developing understandings of how the body and technology can manage and overcome binary tendencies within a mixed reality environment.
This chapter is concerned with research practices in applied ethnomusicology, particularly the potential for applied ethnomusicology to provide researchers with frameworks for transcending their own personal or professional vulnerabilities in the field, leading to improved fieldwork interactions and improved outcomes for themselves and their research participants. It summarizes relevant ethnomusicological and anthropological sources for vulnerability in fieldwork practice, and then presents two case studies, drawn from the author’s own research, that present contrasting perspectives on fieldwork vulnerability. These case studies reveal some of the interpersonal challenges that can occur in culturally engaged fieldwork, and each of them presents solutions to these challenges that are drawn from an ethos of applied research. Overall, this chapter advocates for an ethnomusicology in which the needs of research participants are incorporated into the researcher’s own aims and objectives.