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11.
Erica Brindley 《东方研究杂志》2013,61(2):255-275
This article shows that over the course of the Warring States period (479–221 BCE) authors began to organize and categorize music in a manner that helped define and reinforce their conceptions of themselves as a distinct cultural or ethnic group: variously referred to as the Huaxia, Zhuxia, and Zhou. By examining how Ruist (Confucian) authors articulated distinctions among various types of music, and by showing how such identifications denigrated nefarious forms not associated with the Zhou court and its culture, I show how authors endeavored in a process of musical canonization while also consolidating a sense of an ethno-cultural self. The fact that these writings distinguished among and evaluated musical types not primarily through a discussion of musical form or theory but via a morally-laden language rooted in the civilizing rhetoric of the day suggests that music was a primary site for formulating, expressing, and promoting cultural identity. 相似文献
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Richard Sutherland 《International Journal of Cultural Policy》2013,19(3):366-381
This article investigates the role of Canadian municipal governments in relation to the development of music industry policy. It examines two attempts by Canadian cities (Calgary and Toronto) to develop municipally based music policies. Both cases are examined in context of the policies of other levels of government in Canada, where municipalities have not generally played a significant role in addressing the music industry. Historically, music industry policy has been a concern of federal government policies. The article addresses how this creates a particular conception of the industry and the extent to which municipal policies need to challenge this in order to be effective. Further, the article examines some of the other factors that constrain and shape the ability of Canadian municipalities to intervene in this field. 相似文献
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BRIAN J. HRACS JILL L. GRANT JEFFRY HAGGETT JESSE MORTON 《The Canadian geographer》2011,55(3):365-382
Un conte de deux scènes: le capital civique et le maintien des talents musicaux à Toronto et à Halifax Même si depuis plusieurs décennies Toronto trône au sommet de l’industrie canadienne de la musique, des entretiens récents font apparaître le poids de la restructuration de cette industrie sur les décisions des musiciens quant à l’endroit où vivre et travailler. En cette époque de production indépendante de musique contemporaine, certaines régions urbaines de taille réduite comme Halifax en Nouvelle‐Écosse recèlent un potentiel pour attirer des musiciens. La principale question abordée dans cet article est de savoir dans quelle mesure les dynamiques économique et sociale des régions urbaines ont une incidence sur les choix de localisation des musiciens. Ces derniers sont bien conscients des possibilités économiques qu’une ville de la taille de Toronto peut leur offrir, mais les artisans de la scène musicale la dépeignent comme un milieu de travail extrêmement compétitif et ardu. En revanche, du côté d’Halifax, les répondants évoquent la solidarité et le soutien apportés par la collectivité dans l’accueil des nouveaux arrivants, l’appui à l’organisation de spectacles, et la promotion de la créativité. Dans un tel contexte contemporain, les musiciens indépendants déploient de nouvelles stratégies de valorisation de leur métier et les collectivités qui sont dotées d’un capital civique supérieur sont plus en mesure d’attirer et de retenir les personnes talentueuses. 相似文献
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Sinéad Moynihan 《Irish Studies Review》2016,24(1):79-94
AbstractEver since Jimmy Rabbitte proffered his oft-quoted “niggers of Europe” line in Roddy Doyle’s The Commitments (1987), contemporary Irish culture, especially during the boom years, was characterised by an insistent revisiting of popular music as a metaphor for interracial and/or intercultural connection or understanding. Cross-cultural identification through music may be seen, in Werner Sollors’s memorable terms, as an eschewing of “descent” relations in favour of “consensual” relations. This essay revisits the music metaphor as it has manifested itself in Irish fiction since it was announced officially that Ireland had entered recession in 2008. Specifically, it explores Kevin Curran’s Beatsploitation (2012) and Joseph O’Connor’s The Thrill of It All (2014) arguing that, through their deployment of the music metaphor, the novels stage the murky politics of contemporary Irish iterations of consent and descent. By exposing the extent to which the rhetoric of Irish economic recovery is yoked to paradoxical invocations of volitional and ancestral Irishness, the novels urge their readers to consider the ways in which discourses of economic recovery work to reinforce and perpetuate patterns of exclusion and marginalisation established during the Celtic Tiger years. 相似文献
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Brian Fauteux 《International Journal of Cultural Policy》2016,22(3):313-330
Satellite radio posed a new question for Canadian policy-makers: How to take advantage of a transnational radio service while ensuring cultural identity was not lost within channel offerings that are predominately American. Comparing the initial licensing of satellite radio in Canada (2005) to the merger of the services (2011) and the post-merger license renewal (2012) highlights a shift in the spatial understanding of satellite radio, from being determined by a satellite’s footprint to that of what I call ‘cultural lifelines,’ the various mobile devices and services that enable one to maintain connection to cultural content. Alongside shifting spatial considerations of satellite radio, Canadian content has increasingly been packaged as a brand or genre, catering to fragmented taste preferences and individual, mobile listening practices. 相似文献
16.
S. Evers 《Journal of the history of the neurosciences》2013,22(3):274-281
Abstract Although there is no definite proof, it seems most likely that Georg Friedrich Handel suffered from cere‐brovascular disease, which caused two or three minor strokes and weakness of his eyesight in his last years. His etiologically important risk factors and the symptoms of Handel's strokes are presented and evaluated by primary sources; various diagnoses are discussed. In Handel's musical work, no direct impact from his illness can be found, but there are some indirect outflows of Handel's pathography on his compositions, especially the Messiah. 相似文献
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‘Hold the Heathen Hammer High’: representation,re-enactment and the construction of ‘Pagan’ heritage
Steven P. Ashby 《International Journal of Heritage Studies》2013,19(5):493-511
Viking Metal, Pagan Metal and their relatives represent subgenres of Black and Folk Metal characterised by their historical and mythological references, their incorporation of folk melodies alongside traditional music and instruments, and the use of contemporary material culture and dress. Like earlier folk-rock traditions, these subgenres have often steered an interesting course between the hedonistic tendencies which can accompany rock music (the ‘rock “n” roll lifestyle’) and an educational role: metal as heritage and specifically as heritage interpretation. In this paper, the authors explore these various connections through conversations with members of two prominent bands (Týr and Heidevolk) who gave research seminars at the University of York in 2012 and 2013. The connections between music making, landscape, performativity and narration are prominent in both cases, and form the basis of this study. 相似文献
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George Revill 《Social & Cultural Geography》2013,14(5):693-706
This paper focuses on an evening event at the Community Centre, Jacksdale, Nottinghamshire, UK in 2001 featuring a group called The Chase, performing folk music and dance from France and other European countries. It raises a series of issues concerning the relationships between folk culture and modern everyday life. These questions intersect with debates concerning authenticity, tradition, working-class culture, community and sense of place. The paper develops the concept of vernacular culture within a dynamic and plural conception of place as a means of theoretically locating folk music within modern everyday life. 相似文献
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