118 research outputs found
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What is post-punk?: Genre and identity in avant-garde popular music, 1977-82
No full textPopular music in the US and UK during the late 1970s and early 1980s was wildly eclectic and experimental. “Post-punk,” as it was retroactively labeled, could include electro-pop melodies, distorted guitars, avant-garde industrial sounds, and reggae beats, and thus is not an easily definable musical category. What Is Post-Punk? combines a close reading of the late-1970s music press discourse with musical analyses and theories of identity to unpack post-punk’s status as a genre. Mimi Haddon traces the discursive foundations of post-punk across publications such as Sounds, ZigZag, Melody Maker, the Village Voice, and the NME, and presents case studies of bands including Wire, PiL, Joy Division, the Raincoats, and Pere Ubu. By positioning post-punk in relation to genres such as punk, new wave, dub, and disco, Haddon explores the boundaries of post-punk, and reveals it as a community of tastes and predilections rather than a stylistically unified whole. Haddon diversifies the discourse around post-punk, exploring both its gender and racial dynamics and its proto-industrial aesthetics to restore the historical complexity surrounding the genre’s terms and origins
What is post-punk?: Genre and identity in avant-garde popular music, 1977-82
No full textPopular music in the US and UK during the late 1970s and early 1980s was wildly eclectic and experimental. “Post-punk,” as it was retroactively labeled, could include electro-pop melodies, distorted guitars, avant-garde industrial sounds, and reggae beats, and thus is not an easily definable musical category. What Is Post-Punk? combines a close reading of the late-1970s music press discourse with musical analyses and theories of identity to unpack post-punk’s status as a genre. Mimi Haddon traces the discursive foundations of post-punk across publications such as Sounds, ZigZag, Melody Maker, the Village Voice, and the NME, and presents case studies of bands including Wire, PiL, Joy Division, the Raincoats, and Pere Ubu. By positioning post-punk in relation to genres such as punk, new wave, dub, and disco, Haddon explores the boundaries of post-punk, and reveals it as a community of tastes and predilections rather than a stylistically unified whole. Haddon diversifies the discourse around post-punk, exploring both its gender and racial dynamics and its proto-industrial aesthetics to restore the historical complexity surrounding the genre’s terms and origins
Jesus Christ, the 'Prince of pilgrims' : a critical analysis of the ontological, functional, and exegetical christologies in the sermons, writings, and lectures of Charles Haddon Spurgeon (1834-1892)
No full textThis thesis centers on the doctrine of Christ in the theology of Charles Haddon
Spurgeon through the lens of Spurgeon’s highly developed metaphor, that of Jesus
Christ, the “Prince of pilgrims.” That no scholarly work has thus analyzed or surveyed
Spurgeon’s ontological, functional, and exegetical Christologies warrants continued
contribution to the field of scholarship. Though not a systematician, Spurgeon stood
in direct theological continuity with his Nonconformist Puritan predecessors and
transmitted a highly developed Christology that was Chalcedonian in creed and
Alexandrian in style. This thesis positions Spurgeon’s Christology against the
backdrop of a complex Victorian religious context that, through the use of scientific
enquiry, sought to recover the full humanity of Christ. Though reacting against
modern conclusions concerning the person, natures, and work of Christ, Spurgeon
also sought to recover Christ’s humanity, though his theological presuppositions stood
in marked contradistinction to the spirit of the age. Particular attention is given to
Spurgeon’s utilization of an allegorical hermeneutic to the end that his vernacular, at
times, potentially deviates from traditional, orthodox Christological teachings. The
scope of this research is a survey of Spurgeon’s Christology by way of his sermons,
published writings, lectures, and letters. The purpose of this study is to analyze
Spurgeon’s doctrine of Christ in the context of the wider theological tradition through
an investigation of his allegorical and innovative rhetoric
An annotated catalogue of selected works for clarinet by South African composers
No full textThe dissertation consists of an annotated catalogue of nineteen selected works for clarinet by South African composers. These are presented in chronological order, based on the year of composition. A short biographyof the composer is given before the work is discussed. Of the analysed works, all those for solo clarinet or for clarinet and piano have been graded. A thesis of a similar nature, written in 1989 by L.A. Hartshorne, entitled ""The Compositions for Clarinet by South African Composers"", contains details of twenty-four works written between 1928 and circa 1981. The majority of the compositions analysed in the current dissertation were written from around 1981 onwards, and to some extent, therefore, this research could be seen as complementary to the information contained in the aforementioned thesis. An addendum lists all the South African works featuring solo clarinet that the author was able to trace. These include solo works, cham ber works for up to nineteen instruments and concerto-type works with strings or orchestra
Dub is the new black: modes of identification and tendencies of appropriation in late 1970s post-punk
No full textAbstractThis article examines the complex racial and national politics that surrounded British post-punk musicians’ incorporation of and identification with dub-reggae in the late 1970s. I analyse this historical moment from sociological, intra-musical and discursive perspectives, reading the musical incorporation of dub-reggae by The Police, Gang of Four and Joy Division against the backdrop of the era's music press discourse. I also unpack discursive representations of Jamaican musicians and ask: what role does subaltern performativity play in contributing to ‘imaginary’ critical conceptions of dub, particularly concerning the Jamaican melodica player Augustus Pablo? I conclude by suggesting that post-punk musicians’ incorporation of dub-reggae represents neither an unencumbered post-colonial socio-musical alliance nor a purely colonial one, but rather exceeds and therefore problematises these two positions.</jats:p
Has the Roberts Court Plurality\u27s Colorblind Rhetoric Finally Broken \u3cem\u3eBrown\u27s\u3c/em\u3e Promise?
No full textThis Essay examines the continuing significance of the Keyes decision to the judicial vision of equality and racial isolation in public education. By comparing efforts to promote educational equality from the Keyes era through today, this Essay asserts that the judiciary has wrongly embraced a colorblind interpretation of the Equal Protection Clause. In so doing, courts have impeded the progress of children in Denver and around the country, ignored highly instructive social science studies on the benefits of desegregation, and broken the constitutional promise of equal citizenship. For future policy makers and lawyers to address these persistent problems, legal educators must equip students with tools to reclaim legal conversations about freedom and equaltiy. The author, Dean Phoebe A. Haddon of the University of Maryland Francis King Carey School of Law, concludes with recollections of her late aunt, Rachel B. Noel, who played an instrumental part in the evolution of the Keyes case
June 1982, When Disco Became Dance
No full textCet article analyse la transformation du disco en « musique dance », au sein des musiques populaires nord-américaines au début des années 1980. Je reviens tout d’abord sur un supplément du magazine Billboard, paru le 19 juin 1982, et consacré à une nouvelle catégorie connue sous le nom de « dance music ». À l’aide d’idées développées par David Brackett en 2016, dans son ouvrage Categorizing Sound, j’analyse cette transition générique de deux manières différentes. Dans un premier temps, je m’intéresse à la transition entre le disco et la dance selon l’idée de « niveau » de genres musicaux, et du concept concomitant d’« échec de la coordination » d’usage des étiquettes génériques au travers différents supports médiatiques, comme les palmarès de Billboard, la radio, les pistes de danse et les magasins de disques. Dans un second temps, je m’appuie sur l’idée de « regroupements provisoires » afin de souligner que les musiques populaires peuvent participer de plusieurs genres musicaux à la fois, et que différents critères génériques peuvent produire différents regroupements, parfois étonnants. Je suggère que ces regroupements émergents peuvent servir l’historiographie de la dance-music. Plus spécifiquement, je me demande si les sociabilités pré-rock et les groupes féminins sont ressuscités par les esthétiques ludiques des musiques disco-dance. Pour finir, peut-être la nouvelle dance music des années 1980 a-t-elle autant à voir avec les sociabilités de groupes féminins noirs et une pratique musicale incarnée, qu’elle n’a de rapport avec les nouveaux synthétiseurs, les bruits électroniques granuleux et un minimalisme épars.This article analyses the transformation from disco into “dance” in US popular music at the beginning of the 1980s. I begin with a Billboard magazine supplement from June 19, 1982 that was devoted to a new category known as dance music. Employing ideas foregrounded by David Brackett in his 2016 book Categorizing Sound, I analyse this transition between genres in two different ways. First, I look at the disco-dance transition according to the idea of “levels” of genre and the related phenomenon of a “failure to coordinate” the use of genre labels across different media contexts, specifically the Billboard charts, radio, dancefloors, and record shops. Second, I employ the idea of provisional groupings to account for the fact that popular songs can participate in multiple genres at once, and that different generic criteria can produce different, often unusual genre clusters. I suggest these nascent genre groupings can be used to intervene in dance-music historiography. Specifically, I ask whether the sociality of pre-rock and girl-group music is resurrected in the playful aesthetics of disco-dance music. And, finally, whether the new dance music of the 1980s perhaps has as much to do with historically Black (girl group) sociality and embodied music-making as it does with new synthesizers, gritty electronic noises, and sparse minimalism
Disco as Open Image: Internet Sightings, Cryptic Denotations, and Disco Dancing Girls
No full textThis chapter explores a riddle: what can we learn from digital images that circulate the internet under a “disco” guise, even when the stylistic and cultural traits of disco are hardly present? Particularly of interest here are several images named as “disco dancing girls” that arguably operate on the register of [disco] “sightings,” activating layered mechanisms of apophenia and stereotyping. When considered as cryptic sightings, these online “disco girls” reveal something important about the images they occupy, as well as about “disco” as a present-day signifier. Firstly, by animating historical girlhood references, these images offer us revelations about internet’s girl cultures today and historically. The duality of objectification and agency, upon a closer look, is found equally in the historic school discos and contemporary “soft girl” bedroom-disco social media posts. Secondly, the disco naming reframes these images as they cluster with other “poor images.” Finally, we learn something significant about the “disco” label as it produces “open images” or opens out the unlikely disco representations toward new realities, narratives, and fantasies
Juin 1982 – Quand le disco devient dance
No full textCet article analyse la transformation du disco en « musique dance », au sein des musiques populaires nord-américaines au début des années 1980. Je reviens tout d’abord sur un supplément du magazine Billboard, paru le 19 juin 1982, et consacré à une nouvelle catégorie connue sous le nom de « dance music ». À l’aide d’idées développées par David Brackett en 2016, dans son ouvrage Categorizing Sound, j’analyse cette transition générique de deux manières différentes. Dans un premier temps, je m’intéresse à la transition entre le disco et la dance selon l’idée de « niveau » de genres musicaux, et du concept concomitant d’« échec de la coordination » d’usage des étiquettes génériques au travers différents supports médiatiques, comme les palmarès de Billboard, la radio, les pistes de danse et les magasins de disques. Dans un second temps, je m’appuie sur l’idée de « regroupements provisoires » afin de souligner que les musiques populaires peuvent participer de plusieurs genres musicaux à la fois, et que différents critères génériques peuvent produire différents regroupements, parfois étonnants. Je suggère que ces regroupements émergents peuvent servir l’historiographie de la dance-music. Plus spécifiquement, je me demande si les sociabilités pré-rock et les groupes féminins sont ressuscités par les esthétiques ludiques des musiques disco-dance. Pour finir, peut-être la nouvelle dance music des années 1980 a-t-elle autant à voir avec les sociabilités de groupes féminins noirs et une pratique musicale incarnée, qu’elle n’a de rapport avec les nouveaux synthétiseurs, les bruits électroniques granuleux et un minimalisme épars.This article analyses the transformation from disco into “dance” in US popular music at the beginning of the 1980s. I begin with a Billboard magazine supplement from June 19, 1982 that was devoted to a new category known as dance music. Employing ideas foregrounded by David Brackett in his 2016 book Categorizing Sound, I analyse this transition between genres in two different ways. First, I look at the disco-dance transition according to the idea of “levels” of genre and the related phenomenon of a “failure to coordinate” the use of genre labels across different media contexts, specifically the Billboard charts, radio, dancefloors, and record shops. Second, I employ the idea of provisional groupings to account for the fact that popular songs can participate in multiple genres at once, and that different generic criteria can produce different, often unusual genre clusters. I suggest these nascent genre groupings can be used to intervene in dance-music historiography. Specifically, I ask whether the sociality of pre-rock and girl-group music is resurrected in the playful aesthetics of disco-dance music. And, finally, whether the new dance music of the 1980s perhaps has as much to do with historically Black (girl group) sociality and embodied music-making as it does with new synthesizers, gritty electronic noises, and sparse minimalism
In Defense of Dalida.:Nostalgia, Dancing and Vulgarity in French Disco
No full textThis chapter focuses on the gay icon Dalida (1933–1987) and provides the first study in Anglophone scholarship of French disco music. By situating Dalida’s disco at the crossroads of competing discourses, at a time when the camp tradition of le music-hall was reviled as vulgar by chanson critics and hailed as radical anti-Establishment by gay admirers, it debates the extent to which Dalida’s performance could be construed as “queer.” On the one hand, Dalida performed a very family-friendly style of disco that tamely alluded to romance and was heavily broadcast on prime time television. Belonging to an all-white, all-straight generation of stars achieving success with disco, Dalida typified the very conventional understanding of that music genre in France. On the other hand, Dalida was a mature woman in the 1970s whose comeback as a disco queen coincided with exuberant dance moves, the self-conscious dramatization of her own celebrity, and public declarations of gay allyship. As such, she performed a camp sensibility that defied gender and cultural norms in France, and which contributed—paradoxically—to her severe humiliation in the left-wing press. Examining Dalida’s contribution to disco, this chapter delves into the context-dependent meanings of female glamour, campness, and cultural authenticity
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