337 research outputs found
Photograph of Christopher Morley's House
No full textabstract: Concerning a black and white photograph of author Christopher Morely's home.Curator's Note: Christopher Morley was an American poet and novelist.Transcription Details: Handwritten text on recto of envelope reads: "Chris Morely's home- Feb. 12. 1921 Taken by C.E. Neil".Photograph Details:Text on verso of the photograph reads "The Morley Home. Feb. 12, 1921. Salamis-Roslyn.L.I." with blue number stamps under the handwritten text
Responses to My Commentators
No full textAuthor replies to commentaries from Christopher Hill, Hannah Kim, Emine Hande Tuna, and Neil Van Leeuwen on Explaining Imagination (OUP, 2020) by Peter Langland-Hassan
Responses to My Commentators
No full textAuthor replies to commentaries from Christopher Hill, Hannah Kim, Emine Hande Tuna, and Neil Van Leeuwen on Explaining Imagination (OUP, 2020) by Peter Langland-Hassan
Harmony and discord within the English ‘counter-culture’, 1965-1975, with particular reference to the ‘rock operas’ Hair, Godspell, Tommy and Jesus Christ Superstar
No full textPhDThis thesis considers the discrete, historically-specific theatrical and musical sub-genre of ‘Rock Opera’ as a lens through which to examine the cultural, political and social changes that are widely assumed to have characterised ‘The Sixties’ in Britain. The musical and dramatic texts, creation and production of Hair (1967), Tommy (1969), Godspell (1971), Jesus Christ Superstar (1970) and other neglected ‘Rock Operas’ of the period are analysed. Their great popularity with ‘mainstream’ audiences is considered and contrasted with the overwhelmingly negative and often internally contradictory reaction towards them from the English ‘counter-culture’. This examination offers new insights into both the ‘counter-culture’ and the ‘mainstream’ against which it claimed to define and differentiate itself.
The four ‘Rock Operas’, two of which are based upon Christian scriptures, are considered as narratives of spiritual quest. The relationship between the often controversial quests for re-defined forms of faith and the apparently precipitous ‘secularization’ and ‘de-Christianization’ of British society during the 1960s and 1970s is considered.
The thesis therefore analyses the ‘Rock Operas’ as significant, enlightening prisms through which to view many of the profound societal debates – over ‘faith’ and ‘belief’ in the widest senses, sexuality, the Vietnam war, generational conflict, drugs and ‘spiritual enlightenment’, and race – which were, to some considerable extent, elevated onto the national, political agenda by the activities of the broadly-defined ‘counter-culture’. It considers subsequent representations of the ‘counter-culture’ as the root of a contested but enduring popular legacy of ‘The Sixties' as a period of profound cultural change
Correction: Vitamin D status and supplementation before and after Bariatric Surgery: Recommendations based on a systematic review and meta‑analysis
No full textThe article “Vitamin D status and supplementation before and after Bariatric Surgery: Recommendations based on a systematic review and meta‐analysis”, written by Andrea Giustina, Luigi di Filippo, Antonio Facciorusso, Robert A. Adler, Neil Binkley, Jens Bollerslev, Roger Bouillon, Felipe F. Casanueva, Giulia Martina Cavestro, Marlene Chakhtoura, Caterina Conte, Lorenzo M. Donini, Peter R. Ebeling, Angelo Fassio, Stefano Frara, Claudia Gagnon, Giovanni Latella, Claudio Marcocci, Jeffrey I. Mechanick, Salvatore Minisola, René Rizzoli, Ferruccio Santini, Joseph L. Shaker, Christopher Sempos, Fabio Massimo Ulivieri, Jyrki K. Virtanen, Nicola Napoli, Anne L. Schafer, John P. Bilezikian, was originally published electronically on the publisher’s internet portal on September 04, 2023 without open access. With the author(s)’ decision to opt for Open Choice the copyright of the article changed on September 09, 2023 to © The Author(s) 2023 and the article is forthwith distributed under a Creative Commons Attribution 4.0 International License, which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons licence, and indicate if changes were made. The images or other third party material in this article are included in the article’s Creative Commons licence, unless indicated otherwise in a credit line to the material. If material is not included in the article’s Creative Commons licence and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. To view a copy of this licence, visit http://creativecommons.org/licenses/by/4.0. The original article has been corrected
The invisible artist: Arrangers in popular music (1950-2000): Their contribution and techniques
No full textThis thesis was submitted for the degree of Doctor of Philosophy and was awarded by Brunel University.This thesis is based on the research conducted by the author for the series,
Richard Niles' History of Pop Arranging, seven thirty-minute documentary
programmes for BBC Radio 2, researched, written and presented by the author and
broadcast in 2003. It also draws on interviews conducted by the author (and other
research) between 2002 and 2007 both for the radio series and for this thesis and on
the author's experience as a professional arranger in popular music working with
many of the genre's significant recording artists including Paul McCartney, Ray
Charles, Cher, Tina Turner, Westlife, Tears For Fears, Dusty Springfield, James
Brown, Pet Shop Boys, Kylie Minogue and producers including Trevor Hom, Steve
Lipson, Steve Mac and Steve Anderson.
It will be argued that the role of the arranger in popular music has often been
undervalued and that during a critical period of popular music history (1950-2000)
arrangers played a significant part in the evolution of musical content. This thesis is,
to the best of the author's knowledge, the first time (apart from the above mentioned
documentary) the subject has ever been examined. The arranger is "invisible" because musical arrangers are often un-credited on
record liner notes or in books or articles concerning popular music. A considerable
amount of research has been necessary to determine who wrote many of the
arrangements considered herein. Motown's Berry Gordy purposely kept the names of
musicians and arrangers off the records because he feared others might 'poach' the
trademark 'Motown Sound'. Other record labels considered the job of the arranger to
be reminiscent of an earlier era, diluting the Rock 'n' Roll image of emotion and
spontanaeity they wished to promote. Some producers and recording artists disliked
sharing credit for their work. Motown arranger David Van dePitte told the author that
arranging was "thankless and anonymous - a very service-oriented profession where
others often take credit for what you've done." Arranging has therefore remained an
intrinsically unseen art created by 'invisible' artists. By analyzing many recordings,
revealing the techniques and concepts they have used in their work to create popular
records, arrangers and their art will be made more 'visible'
Review of Neil Jennings and Margaret Jones: 'A Biography of Samuel Chappuzeau, a Seventeenth-Century French Huguenot Playwright, Scholar, Traveller, and Preacher. An Encyclopedic Life'. Lewiston, New York: Edwin Mellen Press, 2012. 253 p. + Appendix, Bibliography, Index.
No full textThe critical biography provides a detailed examination of the life of Samuel Chappuzeau, best known today for his 'Théâtre français', published in 1674. The lengthy title of the study announces the meticulous treatment of the subject by the two authors, Neil Jennings and Margaret Jones. They describe Chappuzeau as a figure who has been largely ignored in modern times, particularly in France, and express the hope that their book will "re-establish and enhance" his reputation. The 'Authors' Note' stipulates that the biography is addressed not only to academics, but to Chappuzeau's numerous descendants as well. Indeed, both authors claim "Samuel" (as they choose to call him throughout the study) as an ancestor and are currently working on a detailed genealogy of the seventeenth-century figure. The biography's 'Foreword' is written by Christopher Gossip, Emeritus Professor of the University of New England (Australia) and author of the first critical edition of Chappuzeau's 'Le Théâtre français' (Tübingen: Narr Verlag, 2009)
The role of Umkhonto we Sizwe (MK) in the national liberation struggle in South Africa with reference to the rural far northern Transvaal, 1976-1990
No full textIncludes bibliographical references (leaves 250-275)
St Andrews University Library in the eighteenth century : Scottish education and print-culture
No full textThe context of this thesis is the growth in size and significance of the St Andrews University Library, made possible by the University's entitlement, under the Copyright Acts between 1709 and 1836, to free copies of new publications. Chapter I shows how the University used its improving Library to present to clients and visitors an image of the University's social and intellectual ideology. Both medium and message in this case told of a migration into the printed book of the University's functions, intellectual, spiritual, and moral, a migration which was going forward likewise in the other Scottish universities and in Scottish culture at large. Chapters II and III chart that migration respectively in religious discourse and in moral education. This growing importance of the book prompted some Scottish professors to devise agencies other than consumer demand to control what was read in their universities and beyond, and indeed what was printed. Chapter IV reviews those devices, one of which was the subject Rhetoric, now being reformed to bring modern literature into its discipline. Chapter V argues that the new Rhetoric tended in fact to confirm the hegemony of print by turning literary study from a general literary apprenticeship into the specialist reading of canonical printed texts. That tendency was not without opposition. Chapter VI analyses the challenge from traditional oral culture as it was expressed in the marginalia added to the Library books at St Andrews University by its students, and argues that this dissident culture helped to form the voice of the poet Robert Fergusson while he was one of those students. Chapter VII goes on to show how Fergusson used that voice to warn his countrymen of the threat which print represented to their culture, and to show how it might be resisted in the interests of both literature and conviviality
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