...The presence of German exiles shaped the cultural life of Los Angeles, especially in the fields of music, theater, and film. This chapter deals with Weimar culture in Los Angeles as a hidden legacy that is not difficult to trace. Not only are artifacts of German exile culture—such as films, novels...

...This chapter examines the operatic activities at the Odéon through its physical and material environment and the general characteristics of music drama during the Bourbon Restoration. Although by the end of the Restoration, Paris had seen a great change in the public provision of transport...

...This chapter discusses repertory and management at the Odeon. During the 1820s, when the theater was mounting productions of music drama, comedy, and tragedy, it boasted up to three directors, two of whom, 1825, were responsible for the branches of spoken theater, and one for music drama...

...This chapter discusses the tradition of German music drama in Paris, considers works by Carl Maria von Weber and an abortive production of Ludvig van Beethoven's Fidelio. German music drama never had the same impact as Italian stage music on Parisian theatrical culture. Two...

...This chapter notes that the Okie country music adopted a broadly defined, newly urbanized form of producerism which extolled producers, those who worked for a living, while reserving its rancor for the idle rich, greedy or unscrupulous capitalists, and other profiteers. Producerism could embrace...

...This chapter argues that pressure to fit in was an important impetus for the rightward turn in country music. Consumers, sponsors, and musical producers strived in the mid- to late 1950s to rehabilitate local country music's hayseed image and disassociate the genre from the Depression-era anti-Okie...

...Local country music was never entirely dominated by the politics of the Right, and indeed, by Merle Haggard's era, new strains of political thought had begun to influence performers and fans. In an attempt to highlight this complexity, this chapter examines the phenomenon surrounding a single hit...

...This chapter notes that in the years following “Okie from Muskogee,” Southern California remained influential in the world of country music, but more as a site for consumption than one of production, and examines the post-9/11 world and the national legacies of Okie populism. It also looks...

...The first illustration in Black Art and Culture in the Twentieth Century, by Richard Powell, is of a late-seventeenth-century slave drum whose unchanging appearance is significant because African rituals and music making were legally suppressed after the Stono Rebellion of 1739...

...Not only in Dr. Watts hymns, but also in spirituals, blues, gospel, rhythm and blues, and jazz, African–European encounters have shaped a persisting core of relationships between language and music. From about 1800 to 1970, this sequence of genres emerged out of the cauldron of wars...

...The practice of Dr. Watts hymn singing among black Baptists in the nineteenth century both revitalized an existing ritual context for music performance and popularized among the black masses the forms and rhythms of English verse. African Americans have demonstrated an especially strong...

...While the primary focus of this book is black Baptist ritual, its general significance extends to non-church forms and contexts that developed in the generations immediately following the ascendancy of Dr. Watts among black Baptists. The black music forms that emerged in the twentieth century—blues...

...This chapter provides a closer look at the differentiation of the Institut de Recherche et de Coordination Acoustique/Musique (IRCAM) intellectuals in 1984 in relation to the Institute's two major areas of work, the musical-aesthetic and the technological. It presents a chart that represents...

...This chapter takes a look at digital recordings as a turning point in the distributional and curatorial aspects of the history of music aesthetics, and tries to describe how it has effectively transformed people's relationship with musical performances and compositional styles of the past. It also...

...This chapter studies the history of religious music, which received little public recognition within the atheist state, and takes note of some of the specific ways that religious music, especially that of Afro-Cuban groups, has been affected by socialist doctrine. It describes the negative...

... definitions that foreground: collectivist or communalist practices, rooted in civil rights and 1960s counterculture movements; self-creation and identity politics; off-the-grid living strategies; transgression and transcendence, and “energy music” aesthetics that feature minimal pre-composed elements...

... Pushkin Alexander Roberts Davis Rainey Ma “See See Ryder ” Witherspoon Jimmy King Ben E “Stand by Me ” Stoller Mike black social and generational conflict country versus city black folklore the Hairy Man superstition religion sibling rivalry magic realism humor comedy acting music...

... Vertigo National Rifle Association NRA adaptation romantic comedy interracial sex music love scenes the only feature theatrical film Burnett directed for which he received no screenplay credit is The Annihilation of Fish (1999) , a generic comedy, albeit a very unusual one...

...This chapter provides an overview of the emergence of sound studies. According to Trevor Pinch and Karin Bijsterveld, editors of “Sound Studies: New Technologies and Music,” “Sound Studies is an emerging interdisciplinary area that studies the material production and consumption of music, noise...

...Before interest in Carl Stalling's music surged in the late 1980s, most of the critical writing on music and cartoons focused on Scott Bradley. During his almost twenty-five years of composing cartoons for MGM (1934–1957), Bradley not only made a name for himself as a composer but also developed...