ANNUAL MEETING OF THE AMERICAN SOCIETY FOR EIGHTEENTH-CENTURY STUDIES DENVER, 21–23 MARCH 2019

[...]theatres represented a site of social struggle, particularly as vernacular music and dance from non-literate classes were infiltrating the stage. Hamilton analysed the song ‘The Negro's Lamentation’ (1800) through its modes of consumption: reading the song's text, practising at the pi...

Celý popis

Uloženo v:
Podrobná bibliografie
Vydáno v:Eighteenth-century music Ročník 17; číslo 1; s. 138 - 140
Hlavní autor: GEOFFROY-SCHWINDEN, REBECCA DOWD
Médium: Journal Article
Jazyk:angličtina
Vydáno: Cambridge Cambridge University Press 01.03.2020
Témata:
18th century
Actor-network theory
Colloquial language
Consumption
Cultural identity
Dance
Gender
Harpsichord music
Historiography
National identity
Opera
Self concept
Society
Theater
Trends
England
ISSN:1478-5706, 1478-5714
On-line přístup:Získat plný text
Tagy: Přidat tag
Žádné tagy, Buďte první, kdo vytvoří štítek k tomuto záznamu!
Popis
Shrnutí:[...]theatres represented a site of social struggle, particularly as vernacular music and dance from non-literate classes were infiltrating the stage. Hamilton analysed the song ‘The Negro's Lamentation’ (1800) through its modes of consumption: reading the song's text, practising at the piano and listening during performance. Because the lyrics articulate the perspective of an enslaved African person, it promoted what Hamilton called ‘racialized thinking’, especially among British women who performed the piece, since the text-setting demanded reflection while practising. Gender and national identity also came together in a paper by Rachel Bani (Florida State University), which explored how Hanoverian musical propaganda, in order to emphasize the threat Jacobitism posed to the cultural status quo and social order, portrayed the Jacobite figure Jenny Cameron (c1698–1722) as a promiscuous feminine power who was nevertheless subordinated by male sexual domination. [...]her works performed on the programme included a courtly Minuet and Variations in A major, Op. 2, and dance movements based on a salon or parlour song entitled ‘Lover, Go, and Calm Thy Sighs’.
Bibliografie:ObjectType-Article-1
SourceType-Scholarly Journals-1
ObjectType-Feature-2
content type line 14
ISSN:1478-5706
1478-5714
DOI:10.1017/S1478570619000307