In Singing Like Germans, Kira Thurman tells the sweeping story of Black musicians in German-speaking Europe over more than a century. Thurman brings to life the incredible musical interactions and ...transnational collaborations among people of African descent and white Germans and Austrians. Through this compelling history, she explores how people reinforced or challenged racial identities in the concert hall. Throughout the nineteenth and twentieth centuries, audiences assumed the categories of Blackness and Germanness were mutually exclusive. Yet on attending a performance of German music by a Black musician, many listeners were surprised to discover that German identity is not a biological marker but something that could be learned, performed, and mastered. While Germans and Austrians located their national identity in music, championing composers such as Bach, Beethoven, and Brahms as national heroes, the performance of their works by Black musicians complicated the public's understanding of who had the right to play them. Audiences wavered between seeing these musicians as the rightful heirs of Austro-German musical culture and dangerous outsiders to it. Thurman explores the tension between the supposedly transcendental powers of classical music and the global conversations that developed about who could perform it. An interdisciplinary and transatlantic history, Singing Like Germans suggests that listening to music is not a passive experience, but an active process where racial and gendered categories are constantly made and unmade.
This dialogue derives from a shared interest in the well-being of musicians and the advancement of the field of the performing arts. These concerns address the age-old dualities between mind and ...body, theory and practice, as well as the neglect of performers' affective and embodied experiences in pedagogy and healthcare.
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Le but du présent texte consiste à proposer une brève analyse du film The Pianist (2002) de Roman Polanski. Cette adaptation cinématographique tirée du récit d’un survivant – Wladyslaw ...Szpilman – nous apparaît comme le fruit d’une possible démarche de dissimulation demeurée, pour ainsi dire, inaperçue. En plus de servir Polanski, elle est également le prototype d’une rhétorique susceptible d’être employée par toute personne en position d’abuser autrui. Nous établirons deux distinctions essentielles : la première concerne les deux auteurs, celui du livre The Pianist et celui du film du même nom, chacun ayant sa motivation propre à partager un tel récit ; la deuxième porte sur Polanski et l’ensemble de son oeuvre, et ce, en réfléchissant à la place à accorder à cette dernière alors que son auteur est la cible de diverses accusations d’inconduites sexuelles. Nous discuterons ensuite d’implications en lien avec le cancel culture et le révisionnisme historique.
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The Stop Musical Center became in three decades the largest community of musicians in Portugal, a phenomenon that has been studied at a national level. However, despite the cluster that was formed in ...this space, there have been no visible actions to promote Stop and boost the growth of the musicians installed there. It is therefore relevant to analyze this phenomenon in terms of existing cooperation relationships and the possibility of creating collective actions with positive impact on unorganized creative clusters. To this end, we have used the theory of industrial networks and cooperative relations, which have been the object of study by the Industrial Marketing and Purchasing Group.
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The Stop Musical Center became in three decades the largest community of musicians in Portugal, a phenomenon that has been studied at a national level. However, despite the cluster that was formed in ...this space, there have been no visible actions to promote Stop and boost the growth of the musicians installed there. It is therefore relevant to analyze this phenomenon in terms of existing cooperation relationships and the possibility of creating collective actions with positive impact on unorganized creative clusters. To this end, we have used the theory of industrial networks and cooperative relations, which have been the object of study by the Industrial Marketing and Purchasing Group. This case study is a descriptive investigation that analyzes the groups: bands and musicians; production studios; locations; and other relevant actors. Semistructured interviews were used in a representative sample of the reality in question. In the conclusions we suggested collective actions for the growth and promotion of Stop as a musical center and similar creative networks, based on the work developed. Keywords: Networks ARA model Cooperation Collective actions Musicians O Centro Musical Stop tornou-se em tres decadas a maior comunidade de musicos em Portugal, um fenomeno que tem vindo a ser estudado a nivel nacional. No entanto, apesar do cluster que se formou neste espaco, nao tem existido acoes visiveis para promover o Stop e potencializar o crescimento dos musicos ali instalados. Torna-se, assim, relevante analisar este fenomeno ao nivel das relacoes de cooperacao existentes e da possibilidade de criacao de acoes coletivas com impacto positivo em clusters criativos nao organizados. Para isso, recorreu-se a teoria das redes industriais e relacoes de cooperacao, que tem sido objeto de estudo pelo Industrial Marketing and Purchasing Group. Este estudo de caso e uma investigacao descritiva, que analisa os grupos: bandas e musicos; estudios de producao; locais de atuacao; e outros atores relevantes. Utilizaram-se entrevistas semiestruturadas numa amostra representativa da realidade em apreco. Nas conclusoes sao sugeridas acoes coletivas para o crescimento e promocao do Stop como centro musical e de redes criativas semelhantes, com base no trabalho desenvolvido. Palavras-chaves: Redes Modelo ARA Cooperacao Acoes coletivas Musicos
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Mary J. Blige is an icon who represents the political consciousness of hip hop and the historical promise of soul. She is an everywoman, celebrated by Oprah Winfrey and beloved by pop music fans of ...all ages and races. Blige has sold over fifty million albums, won numerous Grammys, and even played at multiple White House events, as well as the 2013 Nobel Peace Prize ceremony. Displaying astonishing range and versatility, she has recorded everything from Broadway standards to Led Zeppelin anthems and worked with some of popular music’s greatest artists—Aretha Franklin, Eric Clapton, Elton John, Whitney Houston, Sting, U2, and Beyoncé, among them. Real Love, No Drama: The Music of Mary J. Blige tells the story of one of the most important artists in pop music history. Danny Alexander follows the whole arc of Blige’s career, from her first album, which heralded the birth of “hip hop soul," to her critically praised 2014 album, The London Sessions. He highlights the fact that Blige was part of the historically unprecedented movement of black women onto pop radio and explores how she and other women took control of their careers and used their music to give voice to women’s (and men’s) everyday struggles and dreams. This book adds immensely to the story of both black women artists and artists rooted in hip hop and pays tribute to a musician who, by expanding her reach and asking tough questions about how music can and should evolve, has proven herself an artistic visionary.
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