This thesis examines the relationship of the ‘approved’ avant-garde culture to the ‘outsider’ culture of experimentalism. This relationship exhibits some parallels to the idea of cultural hegemony articulated by Edward Said in Orientalism and is informed by four basic aesthetic principles. These principles can be found in the work of Cornelius Cardew after he finished working on Karlheinz Stockhausen’s Carré (1959–60) and in the musical and referential concerns of the musicians, artists, and others who formed the Scratch Orchestra (1969–73). Such a difference can also be found in activities which are less usually considered to be experimental activity, particularly the post-Scratch Orchestra political and tonal composers. The thesis shows how British experimentalism embraced many features of other arts, especially those of visual arts, and uses documented compositional and performance activity (including concerts, tours, text and tonal pieces) to establish a sense of the richness and consistency of experimental music within its own cultural and aesthetic terms.
sound, media, music, culture; also jazz
Postdoctoral Scholar Department of Ethnomusicology The UCLA Herb Alpert School of Music Ethnomusicologist, Historian. Area of interest: Musical cultures of Iran (Persia) History of music in Iran and the Middle East. Recording industry in non-Western cultures.
Caribbean popular music culture, Indo-Caribbean popular culture, Caribbean Carnival culture, Caribbean cultural studies, Indo-Caribbean diaspora, cultural identity, remix culture, remix theory, hybridity
My research focuses on the musical culture of sixteenth and seventeenth-century England and encompasses a wide range of themes including court music, civic pageantry, ballads and popular song, gender, death songs and elegies, music philosophy, mythology, manuscript studies, and early music printing.
I am a PhD student in historical musicology at Florida State University. Broadly conceived, my research interests include 20th and 21st century American music culture, the ethics of historiography, and the overlap between structures of authority, political discourse, and aesthetic significance. My master’s thesis centers on Aaron Copland’s early symphonic jazz in the context of his transnational musical training and unique social position.
Doom metal music is comprised of richly varied styles. These styles sound significantly different from time to time, yet they still are referred under a doom umbrella. One compelling trait emerges among these seemingly disparate styles. Especially when compared to other heavy and extreme metal music styles, these doom styles always stay on the slower end of the spectrum. This idea of slowness should not be only understood from a pace standpoint, rather, it is the slowing down and lowering of different aspects in the music. Besides the heaviness or the ‘low’ apparent in the tempi of these musics, one notices it in tessitura occupied, in song structures, in lyrics, in dynamics and in the perception of the music. According to Scott & O’Doyle, lifelessness and deceleration of doom achieves immediacy by opening up a reflective space and this decline ‘to the point of timelessness’ leads to affirmation in the music. Furthermore, Coggins also explores drone doom as mystical texts providing therapeutic spaces for the listener. With the help of these discussions, a group of doom styles materialises: funeral doom, death doom, and gothic doom. This presentation examines these styles under the light of ‘low’ness in order to show the coherence of these styles in both cultural and musical terms. It is important to note that these styles show crucial divergence from both other doom styles and other metal music cultures. This divergence requires exploration in order to correctly categorise these musical cultures, an exploration which only then bends to deeper connections among these styles. This presentation also proposes to comment on these connections through an expedition into the cultures in question keeping the function of the ‘low’ in mind.
Popular culture, American Studies, visual culture, music
Editors and contributors for A Cultural History of Music (Bloomsbury)
I graduated from the Department of History, Faculty of Art and Sciences, Uludag University, in 2002. I studied about post-war generation, 20th century social history, subcultures and these music cultures and social movements between 2004–2010. I converted these studies into a text. And then, the text was published with name of “Taşlar Kimin İçin Yuvarlanıyor?” (For Whom The Stones Rolling?) by 6.45 Publication in Jan. 2012. I am graduate student in Akdeniz University, Social Sciences Institute, department of history now. And I am studying about crime, violence, criminality, and criminals in Antalya in the 19th century Ottoman Empire era at present.