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From the perennially young, precocious figure of 'little orphan
Annie' to the physical and vocal ageing of the eighteenth-century
castrato, interlinked cultural constructions of age and gender are
central to the historical and contemporary depiction of creative
activity and its audiences. Gender, Age and Musical Creativity
takes an interdisciplinary approach to issues of identity and its
representation, examining intersections of age and gender in
relation to music and musicians across a wide range of periods,
places, and genres, including female patronage in Renaissance
Italy, the working-class brass band tradition of northern England,
twentieth-century jazz and popular music cultures, and the
contemporary 'New Music' scene. Drawing together the work of
musicologists and practitioners, the collection offers new ways in
which to conceptualise the complex links between age and gender in
both individual and collective practice and their reception: essays
explore juvenilia and 'late' style in composition and performance,
the role of public and private institutions in fostering and
sustaining creative activity throughout the course of musical
careers, and the ways in which genres and scenes themselves age
over time.
From the perennially young, precocious figure of 'little orphan
Annie' to the physical and vocal ageing of the eighteenth-century
castrato, interlinked cultural constructions of age and gender are
central to the historical and contemporary depiction of creative
activity and its audiences. Gender, Age and Musical Creativity
takes an interdisciplinary approach to issues of identity and its
representation, examining intersections of age and gender in
relation to music and musicians across a wide range of periods,
places, and genres, including female patronage in Renaissance
Italy, the working-class brass band tradition of northern England,
twentieth-century jazz and popular music cultures, and the
contemporary 'New Music' scene. Drawing together the work of
musicologists and practitioners, the collection offers new ways in
which to conceptualise the complex links between age and gender in
both individual and collective practice and their reception: essays
explore juvenilia and 'late' style in composition and performance,
the role of public and private institutions in fostering and
sustaining creative activity throughout the course of musical
careers, and the ways in which genres and scenes themselves age
over time.
Although medieval English music has been relatively neglected in
comparison with repertoire from France and Italy, there are few
classical musicians today who have not listened to the
thirteenth-century song 'Sumer is icumen in', or read of the
achievements and fame of fifteenth-century composer John Dunstaple.
Similarly, the identification of a distinctively English musical
style (sometimes understood as the contenance angloise) has been
made on numerous occasions by writers exploring the extent to which
English ideas influenced polyphonic composition abroad. Angel song:
Medieval English music in history examines the ways in which the
standard narratives of English musical history have been crafted,
from the Middle Ages to the present. Colton challenges the way in
which the concept of a canon of English music has been built around
a handful of pieces, composers and practices, each of which offers
opportunities for a reappraisal of English musical and devotional
cultures between 1250 and 1460.
Although medieval English music has been relatively neglected in
comparison with repertoire from France and Italy, there are few
classical musicians today who have not listened to the
thirteenth-century song 'Sumer is icumen in', or read of the
achievements and fame of fifteenth-century composer John Dunstaple.
Similarly, the identification of a distinctively English musical
style (sometimes understood as the contenance angloise) has been
made on numerous occasions by writers exploring the extent to which
English ideas influenced polyphonic composition abroad. Angel song:
Medieval English music in history examines the ways in which the
standard narratives of English musical history have been crafted,
from the Middle Ages to the present. Colton challenges the way in
which the concept of a canon of English music has been built around
a handful of pieces, composers and practices, each of which offers
opportunities for a reappraisal of English musical and devotional
cultures between 1250 and 1460.
Who runs the world? The Beyhive knows. From the Destiny's Child
2001 hit single "Survivor" to her 2019 jam "7/11," Beyoncé
Knowles-Carter has confronted dominant issues around the world.
Because her image is linked with debates on race, sexuality, and
female empowerment, she has become a central figure in pop music
and pop culture. Beyoncé: At Work, On Screen, and Online explores
her work as a singer, activist, and artist by taking a deep dive
into her songs, videos, and performances, as well as responses from
her fans. Contributors look at Beyoncé's entire body of work to
examine her status as a canonical figure in modern music and do not
shy away from questioning scandals or weighing her social
contributions against the evolution of feminism, critical race
theory, authenticity, and more. Full of examples from throughout
Beyoncé's career, this volume presents listening as a political
undertaking that generates meaning and creates community. Beyoncé:
At Work, On Screen, and Online contends that because of her
willingness to address societal issues within her career, Beyoncé
has become an important touchstone for an entire generation—all
in a day's work for Queen Bey.
Who runs the world? The Beyhive knows. From the Destiny's Child
2001 hit single "Survivor" to her 2019 jam "7/11," Beyoncé
Knowles-Carter has confronted dominant issues around the world.
Because her image is linked with debates on race, sexuality, and
female empowerment, she has become a central figure in pop music
and pop culture. Beyoncé: At Work, On Screen, and Online explores
her work as a singer, activist, and artist by taking a deep dive
into her songs, videos, and performances, as well as responses from
her fans. Contributors look at Beyoncé's entire body of work to
examine her status as a canonical figure in modern music and do not
shy away from questioning scandals or weighing her social
contributions against the evolution of feminism, critical race
theory, authenticity, and more. Full of examples from throughout
Beyoncé's career, this volume presents listening as a political
undertaking that generates meaning and creates community. Beyoncé:
At Work, On Screen, and Online contends that because of her
willingness to address societal issues within her career, Beyoncé
has become an important touchstone for an entire generation—all
in a day's work for Queen Bey.
The cult of St Edmund was one of the most important in medieval
England, and further afield, as the pieces here show. St Edmund,
king and martyr, supposedly killed by Danes (or "Vikings") in 869,
was one of the pre-eminent saints of the middle ages; his cult was
favoured and patronised by several English kings and spawned a rich
array of visual,literary, musical and political artefacts.
Celebrated throughout England, especially at the abbey of Bury St
Edmunds, it also inspired separate cults in France, Iceland and
Italy. The essays in this collection offer a range of readings from
a variety of disciplines - literature, history, music, art history
- and of sources - chronicles, poems, theological material -
providing an overview of the multi-faceted nature of St Edmund's
cult, from the ninthcentury to the early modern period. They
demonstrate the openness and dynamism of a medieval saint's cult,
showing how the saint's image could be used in many and changing
contexts: Edmund's image was bent to various political
andpropagandistic ends, often articulating conflicting messages and
ideals, negotiating identity, politics and belief. CONTRIBUTORS:
ANTHONY BALE, CARL PHELPSTEAD, ALISON FINLAY, PAUL ANTONY HAYWARD,
LISA COLTON, REBECCA PINNER, A.S.G. EDWARDS, ALEXANDRA GILLESPIE
From music written in praise of Irish, Scottish, Welsh, and English
saints to the selection of Gospel readings by the Dominicans, this
book introduces readers to the richness of medieval liturgical
culture from across Britain and Ireland. Each of its three main
sections opens with a chapter that offers a contextual frame for
its key themes. With contributions from leading experts in
pre-Reformation music and its sources, the book's focus on Insular
liturgy - rather than that of only one part of Britain or Ireland -
allows readers to learn about the devotional, political and
creative networks at play in shaping liturgical practices:
personal, secular, monastic, lay, and professional. The opening
part includes broader discussions of Uses, including that of
Salisbury, and case studies explore Insular witnesses to devotional
activities in honour of both local cults and widely known figures,
including St Columba, St Margaret, St Katherine, and the Magi.
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