James K. Wright – författare

Eldon Davis Rathburn (1916-2008), one of the most multi-dimensional, prolific, and endlessly fascinating composers of the twentieth century, wrote more music than any other Canadian composer of his generation. During a long and productive career that spanned seventy-five years, Rathburn served for thirty years as a staff composer with the National Film Board of Canada (1947-76), scored the first generation of IMAX films, and created a diverse catalogue of orchestral and chamber works. With the aid of extensive archival and documentary materials, They Shot, He Scored chronicles Rathburn''s life and works, beginning with his formative years in Saint John, New Brunswick, and his breakthrough in Los Angeles in connection with Arnold Schoenberg and the LA Philharmonic Orchestra. The book follows his work at the NFB, his close encounters with some of the most celebrated international figures in his field, and his collaboration with the team of innovators who launched the IMAX film corporation. James Wright undertakes a close analytical reading of Rathburn''s film and concert scores to outline his methods, compositional techniques, influences, and idiosyncratic approach to instrumentation, as well as his proto-postmodern proclivity for borrowing from diverse styles and genres. Authoritative and insightful, They Shot, He Scored illuminates the extraordinary career of an unsung creative force in the film and music industry.

Eldon Davis Rathburn (1916-2008), one of the most multi-dimensional, prolific, and endlessly fascinating composers of the twentieth century, wrote more music than any other Canadian composer of his generation. During a long and productive career that spanned seventy-five years, Rathburn served for thirty years as a staff composer with the National Film Board of Canada (1947-76), scored the first generation of IMAX films, and created a diverse catalogue of orchestral and chamber works. With the aid of extensive archival and documentary materials, They Shot, He Scored chronicles Rathburn''s life and works, beginning with his formative years in Saint John, New Brunswick, and his breakthrough in Los Angeles in connection with Arnold Schoenberg and the LA Philharmonic Orchestra. The book follows his work at the NFB, his close encounters with some of the most celebrated international figures in his field, and his collaboration with the team of innovators who launched the IMAX film corporation. James Wright undertakes a close analytical reading of Rathburn''s film and concert scores to outline his methods, compositional techniques, influences, and idiosyncratic approach to instrumentation, as well as his proto-postmodern proclivity for borrowing from diverse styles and genres. Authoritative and insightful, They Shot, He Scored illuminates the extraordinary career of an unsung creative force in the film and music industry.

Music and Antifascism brings together nineteen international scholars to critically assess the role of music in antifascist struggles in Europe and North America, from the establishment of historical antifascist collectives in the early twentieth century to contemporary antifascist movements today.From antifascist labour choirs in interwar England, to punk subcultures of the 1970s, resistance to fascism in contemporary Ukraine, and antifascist politics in contemporary music festivals, these essays explore the various ways in which music is used to create antifascist spaces, foster antifascist education and political consciousness, build capacity, and directly confront fascist threats. The current crisis of the capitalist project, the increasing concentration of wealth, and the concomitant climate emergency have ushered in a surge in ultranationalist, xenophobic, and authoritarian regimes throughout the world.The gravity of the issues at stake, and the current momentum of social movements worldwide opposing this resurgence of fascism, make this topic a timely one. Music and Antifascism will be valuable reading for students engaged with music and politics, music and social justice, music and culture, historical musicology, popular music studies, music and media, and politics and the arts.

Music and Antifascism brings together nineteen international scholars to critically assess the role of music in antifascist struggles in Europe and North America, from the establishment of historical antifascist collectives in the early twentieth century to contemporary antifascist movements today.From antifascist labour choirs in interwar England, to punk subcultures of the 1970s, resistance to fascism in contemporary Ukraine, and antifascist politics in contemporary music festivals, these essays explore the various ways in which music is used to create antifascist spaces, foster antifascist education and political consciousness, build capacity, and directly confront fascist threats. The current crisis of the capitalist project, the increasing concentration of wealth, and the concomitant climate emergency have ushered in a surge in ultranationalist, xenophobic, and authoritarian regimes throughout the world.The gravity of the issues at stake, and the current momentum of social movements worldwide opposing this resurgence of fascism, make this topic a timely one. Music and Antifascism will be valuable reading for students engaged with music and politics, music and social justice, music and culture, historical musicology, popular music studies, music and media, and politics and the arts.

Taking Mary Shelley’s novel as its point of departure, this collection of essays considers how her creation has not only survived but thrived over 200 years of media history, in music, film, literature, visual art and other cultural forms. In studying monstrous figures torn from the deepest and darkest imaginings of the human psyche, the essays in this book deploy the latest analytical approaches, drawn from such fields as musicology, critical race studies, feminist studies, queer theory and psychoanalysis. The book interweaves the manifold sounds, sights and stories of monstrosity into a conversation that sheds light on important social issues, aesthetic trends and cultural concerns that are as alive today as they were when Shelley’s landmark novel was published 200 years ago.

Taking Mary Shelley's novel as its point of departure, this collection of essays considers how her creation has not only survived but thrived over 200 years of media history, in music, film, literature, visual art and other cultural forms. In studying monstrous figures torn from the deepest and darkest imaginings of the human psyche, the essays in this book deploy the latest analytical approaches, drawn from such fields as musicology, critical race studies, feminist studies, queer theory and psychoanalysis. The book interweaves the manifold sounds, sights and stories of monstrosity into a conversation that sheds light on important social issues, aesthetic trends and cultural concerns that are as alive today as they were when Shelley's landmark novel was published 200 years ago.

Taking Mary Shelley's novel as its point of departure, this collection of essays considers how her creation has not only survived but thrived over 200 years of media history, in music, film, literature, visual art and other cultural forms. In studying monstrous figures torn from the deepest and darkest imaginings of the human psyche, the essays in this book deploy the latest analytical approaches, drawn from such fields as musicology, critical race studies, feminist studies, queer theory and psychoanalysis. The book interweaves the manifold sounds, sights and stories of monstrosity into a conversation that sheds light on important social issues, aesthetic trends and cultural concerns that are as alive today as they were when Shelley's landmark novel was published 200 years ago.

Taking Mary Shelley’s novel as its point of departure, this collection of essays considers how her creation has not only survived but thrived over 200 years of media history, in music, film, literature, visual art and other cultural forms. In studying monstrous figures torn from the deepest and darkest imaginings of the human psyche, the essays in this book deploy the latest analytical approaches, drawn from such fields as musicology, critical race studies, feminist studies, queer theory and psychoanalysis. The book interweaves the manifold sounds, sights and stories of monstrosity into a conversation that sheds light on important social issues, aesthetic trends and cultural concerns that are as alive today as they were when Shelley’s landmark novel was published 200 years ago.