Marcos Napolitano
- Published in print:
- 2014
- Published Online:
- November 2014
- ISBN:
- 9780199986279
- eISBN:
- 9780199398874
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199986279.003.0008
- Subject:
- Music, Popular, Ethnomusicology, World Music
The chapter analyzes the relationship between representations of youth identity and musical movements in Brazil during the 1960s. During that period the country was undergoing a series of political ...
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The chapter analyzes the relationship between representations of youth identity and musical movements in Brazil during the 1960s. During that period the country was undergoing a series of political and socioeconomic transformations that stimulated a debate on the role of youth in the historical process. From 1964 onward, the right-wing military regime intensified this debate further by implementing modernizing capitalist policies in an authoritarian climate. By analyzing the three different youth identities mentioned in the title of this chapter, it is possible to identify the different symbolic responses and the cultural interventions of youth during that specific historical moment concurrent with the structuring of the modern music industry. The latter was the vehicle and articulator of youth identities because much of the cultural debate was centered upon the Brazilian popular music scene.Less
The chapter analyzes the relationship between representations of youth identity and musical movements in Brazil during the 1960s. During that period the country was undergoing a series of political and socioeconomic transformations that stimulated a debate on the role of youth in the historical process. From 1964 onward, the right-wing military regime intensified this debate further by implementing modernizing capitalist policies in an authoritarian climate. By analyzing the three different youth identities mentioned in the title of this chapter, it is possible to identify the different symbolic responses and the cultural interventions of youth during that specific historical moment concurrent with the structuring of the modern music industry. The latter was the vehicle and articulator of youth identities because much of the cultural debate was centered upon the Brazilian popular music scene.
Jane Manning
- Published in print:
- 2020
- Published Online:
- October 2020
- ISBN:
- 9780199391028
- eISBN:
- 9780199391073
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199391028.003.0012
- Subject:
- Music, Performing Practice/Studies, Popular
This chapter introduces Richard Rodney Bennett's A Garland for Marjory Fleming for the young, relatively inexperienced performer. Here, the five songs are perfectly balanced to provide contrast of ...
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This chapter introduces Richard Rodney Bennett's A Garland for Marjory Fleming for the young, relatively inexperienced performer. Here, the five songs are perfectly balanced to provide contrast of pace and mood. The supple vocal lines are not perhaps quite as simple as they may first appear: rhythms contain a few surprises, and subtle shadings underpin key moments in the text. The central song, ‘On Jessy Watsons Elopement’, in particular, requires good rhythmic articulation and some breadth of range and dynamic. The final piece, ‘Sonnet on a Monkey’, is a gem of artfulness and grace, sure to charm audiences, bringing the cycle to an end in exuberant, tongue-in-cheek vein.Less
This chapter introduces Richard Rodney Bennett's A Garland for Marjory Fleming for the young, relatively inexperienced performer. Here, the five songs are perfectly balanced to provide contrast of pace and mood. The supple vocal lines are not perhaps quite as simple as they may first appear: rhythms contain a few surprises, and subtle shadings underpin key moments in the text. The central song, ‘On Jessy Watsons Elopement’, in particular, requires good rhythmic articulation and some breadth of range and dynamic. The final piece, ‘Sonnet on a Monkey’, is a gem of artfulness and grace, sure to charm audiences, bringing the cycle to an end in exuberant, tongue-in-cheek vein.
