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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Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
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.
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
Celotno besedilo
Dostopno za:
CEKLJ, DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
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.
Celotno besedilo
Dostopno za:
CEKLJ, DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
As a member of Poster Children, Rose Marshack took part in entwined revolutions. Marshack and other women seized a much-elevated profile in music during the indie rock breakthrough while the advent ...of new digital technologies transformed the recording and marketing of music. Touring in a van, meeting your idols, juggling a programming job with music, keeping control and credibility, the perils of an independent record label (and the greater perils of a major)—Marshack chronicles the band’s day-to-day life and punctuates her account with excerpts from her tour reports and hard-learned lessons on how to rock, program, and teach while female. She also details the ways Poster Children applied punk’s DIY ethos to digital tech as a way to connect with fans via then-new media like pkids listservs, internet radio, and enhanced CDs.
An inside look at a scene and a career, Play Like a Man is the evocative and humorous tale of one woman’s life in the trenches and online.
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