Visar resultat för..."Opera blues"

Part historical drama, part thriller, and part comedy, Tsui Hark's Peking Opera Blues (1986) invites-if not demands-examinations from multiple perspectives. Tan See Kam rises to the challenge in this study by first situating Tsui in a Sinophone context. The diasporic director explores different dimensions of "Chineseness" in the film by depicting competing versions of Chinese nationalism and presenting characters speaking two Chinese languages, Cantonese and Mandarin. In the process he compels viewers to recognize the multiplicities of the Chinese identity and rethink what constitutes cultural Chineseness. The challenge to a single definition of "Chinese" is also embodied by the playful pastiches of diverse materials. In a series of intertextual readings, Tan reveals the full complexity of Peking Opera Blues by placing it at the center of a web of texts consisting of Tsui's earlier film Shanghai Blues (1984), Hong Kong's Mandarin Canto-pop songs, the "three-women" films in Chinese-language cinemas, and of course, traditional Peking opera, whose role-types, makeup, and dress code enrich the meaning of the film.In Tan's portrayal, Tsui Hark is a filmmaker who makes masterly use of postmodernist techniques to address postcolonial concerns. More than a quarter of a century after its release, Tan shows, Peking Opera Blues still reverberates in the present time.

Part historical drama, part thriller, and part comedy, Tsui Hark's Peking Opera Blues (1986) invites-if not demands-examinations from multiple perspectives. Tan See Kam rises to the challenge in this study by first situating Tsui in a Sinophone context. The diasporic director explores different dimensions of "Chineseness" in the film by depicting competing versions of Chinese nationalism and presenting characters speaking two Chinese languages, Cantonese and Mandarin. In the process he compels viewers to recognize the multiplicities of the Chinese identity and rethink what constitutes cultural Chineseness. The challenge to a single definition of "Chinese" is also embodied by the playful pastiches of diverse materials. In a series of intertextual readings, Tan reveals the full complexity of Peking Opera Blues by placing it at the center of a web of texts consisting of Tsui's earlier film Shanghai Blues (1984), Hong Kong's Mandarin Canto-pop songs, the "three-women" films in Chinese-language cinemas, and of course, traditional Peking opera, whose role-types, makeup, and dress code enrich the meaning of the film.In Tan's portrayal, Tsui Hark is a filmmaker who makes masterly use of postmodernist techniques to address postcolonial concerns. More than a quarter of a century after its release, Tan shows, Peking Opera Blues still reverberates in the present time.

'A wonderfully original take on a Rock and Roll autobiography' Paul McCartney'An inimitable Rock 'n' Roll life told as boldly as it was lived' Bruce SpringsteenWhat story begins in a bedroom in suburban New Jersey in the early '60s, unfolds on some of the country's largest stages, and then ranges across the globe, demonstrating over and over again how Rock and Roll has the power to change the world for the better? This story.The first true heartbeat of UNREQUITED INFATUATIONS is the moment when Stevie Van Zandt trades in his devotion to the Baptist religion for an obsession with Rock and Roll. Groups like the Beatles and the Rolling Stones created new ideas of community, creative risk, and principled rebellion. They changed him forever. While still a teenager, he met Bruce Springsteen, a like-minded outcast/true believer who became one of his most important friends and bandmates. As Miami Steve, Van Zandt anchored the E Street Band as they conquered the Rock and Roll world.And then, in the early '80s, Van Zandt stepped away from E Street to embark on his own odyssey. He refashioned himself as Little Steven, a political songwriter and performer, fell in love with Maureen Santoro who greatly expanded his artistic palette, and visited the world's hot spots as an artist/journalist to not just better understand them, but to help change them. Most famously, he masterminded the recording of "Sun City," an anti-apartheid anthem that sped the demise of South Africa's institutionalized racism and helped get Nelson Mandela out of prison.By the '90s, Van Zandt had lived at least two lives-one as a mainstream rocker, one as a hardcore activist. It was time for a third. David Chase invited Van Zandt to be a part of his new television show, the Sopranos-as Silvio Dante, he was the unconditionally loyal consiglieri who sat at the right hand of Tony Soprano (a relationship that oddly mirrored his real-life relationship with Bruce Springsteen).Underlying all of Van Zandt's various incarnations was a devotion to preserving the centrality of the arts, especially the endangered species of Rock. In the twenty-first century, Van Zandt founded a groundbreaking radio show (Underground Garage), a fiercely independent record label (Wicked Cool), and developed a curriculum to teach students of all ages through the medium of music history. He also rejoined the E Street Band for what has now been a twenty-year victory lap.UNREQUITED INFATUATIONS chronicles the twists and turns of Stevie Van Zandt's always surprising life. It is more than just the testimony of a globe-trotting nomad, more than the story of a groundbreaking activist, more than the odyssey of a spiritual seeker, and more than a master class in rock and roll (not to mention a dozen other crafts). It's the best book of its kind because it's the only book of its kind.

In 2024, women swept the Grammy awards, prompting headlines about their arrival in music. However, women have been shaping pivotal musical developments over the past 3,000 years. A History of Women in Music from Antiquity to the Present Day is a magisterial survey of their manifold contributions to musical history around the world, from Sappho to Nicki Minaj, M.S. Subbulakshmi to Madonna, and Hildegard of Bingen to AKB48. Here are the stories of the women who worked their way from the secret palace performers of sixteenth-century Italy to the quasi-divine operatic divas of nineteenth-century France, whose artistry made the Blues a profitable venue for Black vocalists at the dawn of the recording age, who composed chaste love ballads in the Middle Ages, and less chaste Hyperpop lust ballads in the TikTok Age, all while carrying out the decades-long battle of fighting for representation in some of the world's most male-coded musical forms, as singers of boleros and rancheras in Central America, heavy metal warriors and rap queens in the United States, operatic composers in Europe, reggaeton divas in Puerto Rico, and instrumentalists in a jazz landscape that only barely tolerated their presence as vocalists for forty long years.This book tells the long story of a global movement carried out at first country by country and woman by woman, until the weight of their amassed contributions burst open the gates of resistance, and cleared the way for women's musical prominence today. Whether you're trying to escape another Manic Monday, are curious What Love Has To Do With It (answer: quite a lot), or simply want to step Into The Groove for a while, there are stories and songs here aplenty to let you connect with the long and fascinating lineage of women who took the world by the ears, and poured therein the full measure of their rich musical genius.

Black Song: A Manifesto for Music and Justice centers acts of musical creation and performance that emerge from Black experiences, affirm Black humanity, and connect to Black communities. Written for scholars, performers, and music fans, the book shows that learning about Black Song and its creation is central to understanding both American music and Black American experiences. By providing a more inclusive, just, and accurate understanding of the art of Black Song, the authors disrupt and expand musical canons.Black Song shines a spotlight on the response, resistance, and community building that occur in musical creation in Black spaces, past and present. The authors explore histories and performances across musical styles—from classical to country to hiphop to opera to jazz to gospel to many others. They offer practical advice on how to perform, research, teach, and listen to this music. As they center Black Song in American history and music, they show that this music is a valuable tool for promoting productive and healing dialogues about race, justice, and history. Encouraging empathy and understanding, Black Song shows how to approach Black music and spaces with knowledge and respect.

Singers generating cultural identity from K-Pop to Beverly Sills Around the world and across time, singers and their songs stand at the crossroads of differing politics and perspectives. Levi S. Gibbs edits a collection built around the idea of listening as a political act that produces meaning. Contributors explore a wide range of issues by examining artists like Romani icon Esma Redžepova, Indian legend Lata Mangeshkar, and pop superstar Teresa Teng. Topics include gendered performances and the negotiation of race and class identities; the class-related contradictions exposed by the divide between highbrow and pop culture; links between narratives of overcoming struggle and the distinction between privileged and marginalized identities; singers’ ability to adapt to shifting notions of history, borders, gender, and memory in order to connect with listeners; how the meanings we read into a singer’s life and art build on one another; and technology’s ability to challenge our ideas about what constitutes music. Cutting-edge and original, Social Voices reveals how singers and their songs equip us to process social change and divergent opinions. Contributors: Christina D. Abreu, Michael K. Bourdaghs, Kwame Dawes, Nancy Guy, Ruth Hellier, John Lie, Treva B. Lindsey, Eric Lott, Katherine Meizel, Carol A. Muller, Natalie Sarrazin, Anthony Seeger, Carol Silverman, Andrew Simon, Jeff Todd Titon, and Elijah Wald

Completely rewritten, the updated third edition of American Music broadens the scope of the classic text. Gilbert Chase devotes greater attention to modern forms like jazz, folk, and popular music, while expanding existing scholarship. Chase's musical tour begins with the various religious movements that dominated our musical expression for over two centuries. From there, he explores the rapid changes and artistic flowerings of the twentieth century-a series of musical revolutions that saw the development of "serious" instrumental music and an influential avant-garde alongside the birth of ragtime, jazz, and a far-reaching constellation of popular forms. Written by the leading expert of his era, American Music is a long-standing classroom perennial and an indispensable guide to anyone interested in the United States and its musical heritage.

Singers generating cultural identity from K-Pop to Beverly Sills Around the world and across time, singers and their songs stand at the crossroads of differing politics and perspectives. Levi S. Gibbs edits a collection built around the idea of listening as a political act that produces meaning. Contributors explore a wide range of issues by examining artists like Romani icon Esma Redžepova, Indian legend Lata Mangeshkar, and pop superstar Teresa Teng. Topics include gendered performances and the negotiation of race and class identities; the class-related contradictions exposed by the divide between highbrow and pop culture; links between narratives of overcoming struggle and the distinction between privileged and marginalized identities; singers’ ability to adapt to shifting notions of history, borders, gender, and memory in order to connect with listeners; how the meanings we read into a singer’s life and art build on one another; and technology’s ability to challenge our ideas about what constitutes music. Cutting-edge and original, Social Voices reveals how singers and their songs equip us to process social change and divergent opinions. Contributors: Christina D. Abreu, Michael K. Bourdaghs, Kwame Dawes, Nancy Guy, Ruth Hellier, John Lie, Treva B. Lindsey, Eric Lott, Katherine Meizel, Carol A. Muller, Natalie Sarrazin, Anthony Seeger, Carol Silverman, Andrew Simon, Jeff Todd Titon, and Elijah Wald

The Pre-history of ‘The Midsummer Marriage’ examines the early collaborative phase (1943 to 1946) in the making of Michael Tippett’s first mature opera and charts the developments that grew out of that phase.Drawing on a fascinating group of Tippett’s sketchbooks and a lengthy sequence of his letters to Douglas Newton, it helps construct a narrative of the Tippett-Newton collaboration and provides insights into the devising of the opera’s plot, both in that early phase and in the phase from 1946 onwards when Tippett went on with the project alone. The book asks: who was Newton, and what kind of collaboration did he have—then cease to have— with Tippett?What were the origins of and shaping factors behind the original scenario and libretto-drafts?How far did the narrative and controlling concepts of Midsummer Marriage in its final form tally with—and how far did they move away from—those that had been set up in the years of the two men’s collaboration, the ‘pre-historic’ years?The book will be of particular interest to scholars and researchers in opera studies and twentieth-century music.

The Pre-history of ‘The Midsummer Marriage’ examines the early collaborative phase (1943 to 1946) in the making of Michael Tippett’s first mature opera and charts the developments that grew out of that phase.Drawing on a fascinating group of Tippett’s sketchbooks and a lengthy sequence of his letters to Douglas Newton, it helps construct a narrative of the Tippett-Newton collaboration and provides insights into the devising of the opera’s plot, both in that early phase and in the phase from 1946 onwards when Tippett went on with the project alone. The book asks: who was Newton, and what kind of collaboration did he have—then cease to have— with Tippett?What were the origins of and shaping factors behind the original scenario and libretto-drafts?How far did the narrative and controlling concepts of Midsummer Marriage in its final form tally with—and how far did they move away from—those that had been set up in the years of the two men’s collaboration, the ‘pre-historic’ years?The book will be of particular interest to scholars and researchers in opera studies and twentieth-century music.

Legitimating Television: Media Convergence and Cultural Status explores how and why television is gaining a new level of cultural respectability in the 21st century. Once looked down upon as a "plug-in drug" offering little redeeming social or artistic value, television is now said to be in a creative renaissance, with critics hailing the rise of Quality series such as Mad Men and 30 Rock. Likewise, DVDs and DVRs, web video, HDTV, and mobile devices have shifted the longstanding conception of television as a household appliance toward a new understanding of TV as a sophisticated, high-tech gadget. Newman and Levine argue that television’s growing prestige emerges alongside the convergence of media at technological, industrial, and experiential levels. Television is permitted to rise in respectability once it is connected to more highly valued media and audiences. Legitimation works by denigrating "ordinary" television associated with the past, distancing the television of the present from the feminized and mass audiences assumed to be inherent to the "old" TV. It is no coincidence that the most validated programming and technologies of the convergence era are associated with a more privileged viewership. The legitimation of television articulates the medium with the masculine over the feminine, the elite over the mass, reinforcing cultural hierarchies that have long perpetuated inequalities of gender and class. Legitimating Television urges readers to move beyond the question of taste—whether TV is "good" or "bad"—and to focus instead on the cultural, political, and economic issues at stake in television’s transformation in the digital age.

Legitimating Television: Media Convergence and Cultural Status explores how and why television is gaining a new level of cultural respectability in the 21st century. Once looked down upon as a "plug-in drug" offering little redeeming social or artistic value, television is now said to be in a creative renaissance, with critics hailing the rise of Quality series such as Mad Men and 30 Rock. Likewise, DVDs and DVRs, web video, HDTV, and mobile devices have shifted the longstanding conception of television as a household appliance toward a new understanding of TV as a sophisticated, high-tech gadget. Newman and Levine argue that television’s growing prestige emerges alongside the convergence of media at technological, industrial, and experiential levels. Television is permitted to rise in respectability once it is connected to more highly valued media and audiences. Legitimation works by denigrating "ordinary" television associated with the past, distancing the television of the present from the feminized and mass audiences assumed to be inherent to the "old" TV. It is no coincidence that the most validated programming and technologies of the convergence era are associated with a more privileged viewership. The legitimation of television articulates the medium with the masculine over the feminine, the elite over the mass, reinforcing cultural hierarchies that have long perpetuated inequalities of gender and class. Legitimating Television urges readers to move beyond the question of taste—whether TV is "good" or "bad"—and to focus instead on the cultural, political, and economic issues at stake in television’s transformation in the digital age.

Black Song: A Manifesto for Music and Justice centers acts of musical creation and performance that emerge from Black experiences, affirm Black humanity, and connect to Black communities. Written for scholars, performers, and music fans, the book shows that learning about Black Song and its creation is central to understanding both American music and Black American experiences. By providing a more inclusive, just, and accurate understanding of the art of Black Song, the authors disrupt and expand musical canons.Black Song shines a spotlight on the response, resistance, and community building that occur in musical creation in Black spaces, past and present. The authors explore histories and performances across musical styles—from classical to country to hiphop to opera to jazz to gospel to many others. They offer practical advice on how to perform, research, teach, and listen to this music. As they center Black Song in American history and music, they show that this music is a valuable tool for promoting productive and healing dialogues about race, justice, and history. Encouraging empathy and understanding, Black Song shows how to approach Black music and spaces with knowledge and respect.

Now faced with the "zero hour" created by a new freedom of expression and the dramatic breakup of the Soviet Union, Soviet cinema has recently become one of the most interesting in the world, aesthetically as well as politically. How have Soviet filmmakers responded to the challenges of glasnost? To answer this question, the American film scholar Andrew Horton and the Soviet critic Michael Brashinsky offer the first book-length study of the rapid changes in Soviet cinema that have been taking place since 1985. What emerges from their collaborative dialogue is not only a valuable work of film criticism but also a fascinating study of contemporary Soviet culture in general. Horton and Brashinsky examine a wide variety of films from BOMZH (initials standing for homeless drifter) through Taxi Blues and the glasnost blockbuster Little Vera to the Latvian documentary Is It Easy to Be Young? and the "new wave" productions of the "Wild Kazakh boys." The authors argue that the medium that once served the Party became a major catalyst for the deconstruction of socialism, especially through documentary filmmaking.Special attention is paid to how filmmakers from 1985 through 1990 represent the newly "discovered" past of the pre-glasnost era and how they depict troubled youth and conflicts over the role of women in society. The book also emphasizes the evolving uses of comedy and satire and the incorporation of "genre film" techniques into a new popular cinema. An intriguing discussion of films of Georgia, Estonia, Latvia, Lithuania, and Kazakhstan ends the work.

From jazz and blues, hip hop and R&B, pop, punk, and opera, Black women have made major contributions to the history and formation of musical genres for more than a century. In this fully illustrated middle grade anthology, 50 strong, empowering, and inspiring Black women singers' bios will teach kids to follow their dreams, to think outside the box, and to push the boundaries of what's expected. Written by music writer and journalist Jordannah Elizabeth and illustrated by tBriana Dengoue, She Raised Her Voice! will inspire readers to find their voice and their own way of expressing themselves. Profiles included are: Abbey Lincoln * Angelique Kidjo * Anita Baker * Aretha Franklin * Ari Up * Barbara Lynn * Bessie Smith * Betty Carter * Beyoncé Knowles-Carter * Big Mama Thornton * Billie Holiday * Chaka Khan * Darlene Love * Dee Dee Bridgewater * Diana Ross * Dinah Washington * Dionne Warwick * Elizabeth Cotton * Ella Fitzgerald * Erykah Badu * Etta James * Gladys Knight * Janet Jackson * Jill Scott * Lena Horne * Leontyne Price * MC Lyte * Ma Rainey * Mahalia Jackson * Mavis Staples * Memphis Minnie * Minnie Riperton * Nancy Wilson * Natalie Cole * Nina Simone * Odetta * Patti LaBelle * Poly Styrene * Queen Latifah * Rita Marley * Roberta Flack * Ronnie Spector * Sade Adu * Sarah Vaughan * Sister Nancy * Sister Rosetta Tharpe * Skin * The Pointer Sisters * Tina Turner * Tracy Chapman

This is the first comprehensive stand-alone reference to music in the South.Southern music has flourished as a meeting ground for the traditions of West African and European peoples in the region, leading to the evolution of various traditional folk genres, bluegrass, country, jazz, gospel, rock, blues, and southern hip-hop. This much-anticipated volume in ""The New Encyclopedia of Southern Culture"" celebrates an essential element of southern life and makes available for the first time a stand-alone reference to the music and music makers of the American South.With nearly double the number of entries devoted to music in the original Encyclopedia, this volume includes 30 thematic essays, covering topics such as ragtime, zydeco, folk music festivals, minstrelsy, rockabilly, white and black gospel traditions, and southern rock. And it features 174 topical and biographical entries, focusing on artists and musical outlets. From Mahalia Jackson to R.E.M., from Doc Watson to OutKast, this volume considers a diverse array of entertaining topics, drawing on the best historical and contemporary scholarship on southern music. It is a book for all southerners and for all serious music lovers, wherever they live.

The African Diaspora presents musical case studies from various regions of the African diaspora, including Africa, the Caribbean, Latin America, North America, and Europe, that engage with broader interdisciplinary discussions about race, gender, politics, nationalism, and music. Featured here are jazz, wassoulou music, and popular and traditional musics of the Caribbean and Africa, framed with attention to the reciprocal relationships of the local and the global.

Columbus is the third-largest city in Georgia, and Red Clay, White Water, and Blues is its first comprehensive history. Virginia E. Causey documents the city’s founding in 1828 and brings its story to the present, examining the economic, political, social, and cultural changes over the period. It is the first history of the city that analyzes the significant contributions of all its citizens, including African Americans, women, and the working class. Causey, who has lived and worked in Columbus for more than forty years, focuses on three defining characteristics of the city’s history: the role that geography has played in its evolution, specifically its location on the Chattahoochee River along the Fall Line, making it an ideal place to establish water-powered textile mills; the fact that the control of city’s affairs rested in the hands of a particular business elite; and the endemic presence of violence that left a “bloody trail” throughout local history.Causey traces the life of Columbus: its founding and early boom years; the Civil War and its aftermath; conflicts as a modern city emerged in the first half of the twentieth century; racial tension and economic decline in the mid-to-late 1900s; and rebirth and revival of the city in the twenty-first century. Peppered throughout are compelling anecdotes about the city’s most colorful characters, including Sol Smith and His Dramatic Company, music phenom Blind Tom Wiggins, suffragist Augusta Howard, industrialist and philanthropist G. Gunby Jordan, peanut purveyor Tom Huston, blueswoman Ma Rainey, novelist Carson McCullers, and insurance magnate John Amos.

An exploration of avant-garde music and operatic form in Weimar GermanyWeimar Germany -- the age of Bauhaus and Brecht -- was a time of significant activity in all areas of the artistic avant-garde. Musicologist Susan Cook explores this intriguing period in a look at Zeitoper (topical opera)and its primary exponents, Ernst Krenek, Kurt Weill and Paul Hindemith. Zeitoper has proved to be of importance as an experimental form that broadened the definition of modern opera and musical theatre, incorporating elements previously thought unsuitable. Celebrating modern life in its libretti, its scores borrowed heavily from American dance music and jazz.Opera for a New Republic is the first book to provide a broad historical,cultural and artistic context for the development of this operatic genre. Through it we learn that Zeitoper, although short-lived, has proved to be a vital component in the development of twentieth-century operatic style.Susan Cook is Professor of Musicology at the University of Wisconsin.

Humanity joining the intergalactic community has been a disaster for Bala, the magical creatures of the galaxy: they've been exploited, enslaved and ground down for parts. Now the Century Summit is approaching, when humans will be judged by godlike aliens.When Jenny Perata, disabled Maori shuttle captain, is contracted to take a shipment to the summit, she must enlist half-unicorn Gary Cobalt, whose horn powers faster-than-light travel. But he's just been released from prison, for murdering the wife of Jenny's co-pilot, Cowboy Jim... When the Reason regime suddenly enact laws making Bala property, Jenny’s ship becomes the last hope for magic.File Under: Science Fiction

'This is not only Oliver's finest book on the blues, but is perhaps the finest overall survey of the subject that has yet been written. ' FINANCIAL TIMES The influence of the blues on popular mainstream music is immense. Its fascinating history reaches back to the end of the nineteenth century, its roots in the work songs of slavery, the ballads and country music of black Americans. Paul Oliver places singers like Blind Lemon Jefferson, Bessie Smith, Muddy Waters and Lightnin' Hopkins firmly in the context of their surroundings. He considers every facet of the Blues, its themes and subjects, the impact of recording, its-far-reaching legacy. This is not simply the history of a music but a reflection of the tumult with American society.

'A delight to read' Philip Pullman'Essential reading ... a genuine landmark publication' Tom ServiceA BBC Radio 4 'Book of the Week'The music of the British composer Michael Tippett - including the oratorio A Child of Our Time, five operas, and four symphonies - is among the most visionary of the twentieth century. But little has been written about his extraordinary life. In this long-awaited first biography, Oliver Soden weaves a century-spanning narrative of epic scope and penetrating insight. His achievement is to have enriched our understanding not only of Tippett but of the twentieth century. Figures such as T.S. Eliot, E.M. Forster, Barbara Hepworth, and W.H. Auden jostle in the cast list. An Edwardian world of gaslight and empire cedes to turmoil and warfare and his operas' game-changing attitudes to gay and civil rights, against a backdrop of the Cold War and the Space Race.The result is a landmark in the study of twentieth-century culture, simultaneously an astonishing feat of scholarship and a story as enthralling as in any great novel.

Known for “Blue Yodel (T for Texas),” “Waiting for a Train,” and “In the Jailhouse Now,” Jimmie Rodgers’s impact on American music is incalculable. Paul Burch's bio-fictional tale of the short and poignant life of the "Father of Country Music” includes an imagined first-person memoir, accompanied by spirited, hilarious, and often conflicting recollections of Jimmie’s family and music colleagues, along with period black-and-white illustrations.Born in 1897 in Meridian, Mississippi, Rodgers remains the only artist voted into the Rock & Roll, Country, Blues, and Songwriters Halls of Fame. Generations of fans from B. B. King and Johnny Cash to George Harrison and Dolly Parton recall a Rodgers record as the first music played in their home. But his fame extended far beyond America to Africa, Ireland, England, Australia, and Russia. His disciples include Robert Johnson, Bob Dylan, John Prine, the Clash’s Joe Strummer, Jack White, and anyone over the last century who has picked up a guitar to sing about life and the world around it.Meridian Rising is at once an immersive tale and a brilliant literary puzzle, deftly blending history and fiction to create a vibrant alternative life-tale of the entertainer Howling Wolf called “my man that I really dug.” Written with the knowledge and sensitivity of a touring musician who has traveled many of the same roads and stages, Meridian Rising engages the reader in a quest for truth while confronting the deceptions that live within our deepest relationships.