Michael D. Gordin
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780691172385
- eISBN:
- 9780691184425
- Item type:
- book
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691172385.001.0001
- Subject:
- History, Russian and Former Soviet Union History
Dmitrii Mendeleev (1834–1907) is a name we recognize, but perhaps only as the creator of the periodic table of elements. Generally, little else has been known about him. This book is an authoritative ...
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Dmitrii Mendeleev (1834–1907) is a name we recognize, but perhaps only as the creator of the periodic table of elements. Generally, little else has been known about him. This book is an authoritative biography of Mendeleev that draws a multifaceted portrait of his life for the first time. As the book reveals, Mendeleev was not only a luminary in the history of science, he was also an astonishingly wide-ranging political and cultural figure. From his attack on Spiritualism to his failed voyage to the Arctic and his near-mythical hot-air balloon trip, this is the story of an extraordinary maverick. The ideals that shaped his work outside science also led Mendeleev to order the elements and, eventually, to engineer one of the most fascinating scientific developments of the nineteenth century. This book is a classic work that tells the story of one of the world's most important minds.Less
Dmitrii Mendeleev (1834–1907) is a name we recognize, but perhaps only as the creator of the periodic table of elements. Generally, little else has been known about him. This book is an authoritative biography of Mendeleev that draws a multifaceted portrait of his life for the first time. As the book reveals, Mendeleev was not only a luminary in the history of science, he was also an astonishingly wide-ranging political and cultural figure. From his attack on Spiritualism to his failed voyage to the Arctic and his near-mythical hot-air balloon trip, this is the story of an extraordinary maverick. The ideals that shaped his work outside science also led Mendeleev to order the elements and, eventually, to engineer one of the most fascinating scientific developments of the nineteenth century. This book is a classic work that tells the story of one of the world's most important minds.
Jennifer Fisher
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195386691
- eISBN:
- 9780199863600
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195386691.003.0002
- Subject:
- Music, Dance
Jennifer Fisher provides a history of the “making it macho” strategy for men often employed in the dance world, which has been a response to the prejudices against ballet men throughout the 20th ...
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Jennifer Fisher provides a history of the “making it macho” strategy for men often employed in the dance world, which has been a response to the prejudices against ballet men throughout the 20th century and beyond. By looking at various rhetorical strategies in dance biography (Shawn, Nureyev, Bruhn), movies (Shall We Dance? The Turning Point), and television (So You Think You Can Dance), it foregrounds the frequency and futility of binary thinking in relation to masculinity as well as femininity when it comes to ballet performance. It references analysis of modern masculinity by Michael Kimmel and George Mosse, as well as dance analysis by Julia Foulkes and Ramsay Burt. It is suggested that, given the challenges for men in the feminized world of ballet, they trade the “macho” moniker for that of “maverick.”Less
Jennifer Fisher provides a history of the “making it macho” strategy for men often employed in the dance world, which has been a response to the prejudices against ballet men throughout the 20th century and beyond. By looking at various rhetorical strategies in dance biography (Shawn, Nureyev, Bruhn), movies (Shall We Dance? The Turning Point), and television (So You Think You Can Dance), it foregrounds the frequency and futility of binary thinking in relation to masculinity as well as femininity when it comes to ballet performance. It references analysis of modern masculinity by Michael Kimmel and George Mosse, as well as dance analysis by Julia Foulkes and Ramsay Burt. It is suggested that, given the challenges for men in the feminized world of ballet, they trade the “macho” moniker for that of “maverick.”
Charles A. Carpenter
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9780813034058
- eISBN:
- 9780813038254
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034058.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
This book offers a new perspective on one of the most puzzling questions faced by Shaw scholars—how to reconcile the artist's individualist leanings with his socialist Fabian ideals. The book does ...
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This book offers a new perspective on one of the most puzzling questions faced by Shaw scholars—how to reconcile the artist's individualist leanings with his socialist Fabian ideals. The book does this by viewing Shaw as a maverick whose approach was impossible to duplicate and grew out of his unique artistic temperament, his outlook, and his vocation. Shaw's activities in promoting the Fabians' goals of advancing social democracy were highly distinctive. He effectively used calculated irritation as an attention-getting tactic; he relied on devices that he had formulated as a creative rhetorician, rather than on the academic principles that were second nature to most of his fellow Fabians; and he devised and championed the use of indirect means to “persuade the world to take our ideas into account in reforming itself.”Less
This book offers a new perspective on one of the most puzzling questions faced by Shaw scholars—how to reconcile the artist's individualist leanings with his socialist Fabian ideals. The book does this by viewing Shaw as a maverick whose approach was impossible to duplicate and grew out of his unique artistic temperament, his outlook, and his vocation. Shaw's activities in promoting the Fabians' goals of advancing social democracy were highly distinctive. He effectively used calculated irritation as an attention-getting tactic; he relied on devices that he had formulated as a creative rhetorician, rather than on the academic principles that were second nature to most of his fellow Fabians; and he devised and championed the use of indirect means to “persuade the world to take our ideas into account in reforming itself.”
Carlton Jackson
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780813161051
- eISBN:
- 9780813165516
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813161051.003.0010
- Subject:
- History, Military History
This conclusion is a reflection on the life and accomplishments of Chinn. It begins by considering the definition of the word maverick, which fits Chinn well: in his time considered himself and was ...
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This conclusion is a reflection on the life and accomplishments of Chinn. It begins by considering the definition of the word maverick, which fits Chinn well: in his time considered himself and was considered by others a nonconformist. In his roles as a military weapons expert, a colonel in the military, and director of the Kentucky Historical Society, Chinn was unafraid to give his own opinion and follow his own route. The chapter concludes by lauding Chinn and mavericks in general.Less
This conclusion is a reflection on the life and accomplishments of Chinn. It begins by considering the definition of the word maverick, which fits Chinn well: in his time considered himself and was considered by others a nonconformist. In his roles as a military weapons expert, a colonel in the military, and director of the Kentucky Historical Society, Chinn was unafraid to give his own opinion and follow his own route. The chapter concludes by lauding Chinn and mavericks in general.
Peter D. G. Thomas
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780198205449
- eISBN:
- 9780191676642
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198205449.001.0001
- Subject:
- History, British and Irish Modern History
Often deemed the founder of British radicalism, John Wilkes (1725–1797) had a shattering impact on the politics of his time. His audacity in challenging government authority was matched by his skill ...
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Often deemed the founder of British radicalism, John Wilkes (1725–1797) had a shattering impact on the politics of his time. His audacity in challenging government authority was matched by his skill and determination in attaining his objectives: the freedom of the press to criticize ministers and report Parliament; enhanced security for individuals and their property from arbitrary arrest and seizure; and the rights of electors. That he was a political maverick, of witty and wicked reputation, has led historians to underestimate him — this is the first researched biography since 1917. Contemporaries appreciated his achievements more than posterity, one obituarist writing that ‘his name will be connected with our history’. This biography provides an intriguing portrait of the man George III referred to as ‘that Devil, Wilkes’.Less
Often deemed the founder of British radicalism, John Wilkes (1725–1797) had a shattering impact on the politics of his time. His audacity in challenging government authority was matched by his skill and determination in attaining his objectives: the freedom of the press to criticize ministers and report Parliament; enhanced security for individuals and their property from arbitrary arrest and seizure; and the rights of electors. That he was a political maverick, of witty and wicked reputation, has led historians to underestimate him — this is the first researched biography since 1917. Contemporaries appreciated his achievements more than posterity, one obituarist writing that ‘his name will be connected with our history’. This biography provides an intriguing portrait of the man George III referred to as ‘that Devil, Wilkes’.
Broyles Michael
- Published in print:
- 2004
- Published Online:
- October 2013
- ISBN:
- 9780300100457
- eISBN:
- 9780300127898
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300100457.003.0011
- Subject:
- Music, Theory, Analysis, Composition
In the 1920s, American composers were true mavericks—that is, highly eccentric and individualistic—yet were successful because they self-organized in tightly knit societies. In this process, they ...
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In the 1920s, American composers were true mavericks—that is, highly eccentric and individualistic—yet were successful because they self-organized in tightly knit societies. In this process, they demonstrated a pattern found throughout American history: a radical vision attained through communalism. Charles Ives, Carl Ruggles, and Charles Seeger are three such maverick composers who strongly adhered to a thoroughgoing and systematic dissonance, where one finds traces of Puritanism. Harry Partch is most directly and overtly associated with the myth of American individualism, one whose music is essentially communal. John Cage seemed to be indifferent to geography, a reflection of his own disassociation from community. Cage's anticommunalism is entirely consistent with his purpose of non-intention, and his position is curiously close to some aspects of minimalism. La Monte Young also disdained the idea of community. A special edge that marked American history, the edge of chaos between nature and civilization, was recognized by both Frederick Jackson Turner and Ralph Waldo Emerson.Less
In the 1920s, American composers were true mavericks—that is, highly eccentric and individualistic—yet were successful because they self-organized in tightly knit societies. In this process, they demonstrated a pattern found throughout American history: a radical vision attained through communalism. Charles Ives, Carl Ruggles, and Charles Seeger are three such maverick composers who strongly adhered to a thoroughgoing and systematic dissonance, where one finds traces of Puritanism. Harry Partch is most directly and overtly associated with the myth of American individualism, one whose music is essentially communal. John Cage seemed to be indifferent to geography, a reflection of his own disassociation from community. Cage's anticommunalism is entirely consistent with his purpose of non-intention, and his position is curiously close to some aspects of minimalism. La Monte Young also disdained the idea of community. A special edge that marked American history, the edge of chaos between nature and civilization, was recognized by both Frederick Jackson Turner and Ralph Waldo Emerson.
Broyles Michael
- Published in print:
- 2004
- Published Online:
- October 2013
- ISBN:
- 9780300100457
- eISBN:
- 9780300127898
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300100457.003.0001
- Subject:
- Music, Theory, Analysis, Composition
This book focuses on America's maverick composers, those who lived unusual lives or flaunted norms and wrote works that were considered incomprehensible and even unplayable. It examines the role of ...
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This book focuses on America's maverick composers, those who lived unusual lives or flaunted norms and wrote works that were considered incomprehensible and even unplayable. It examines the role of the maverick in American music and culture. It looks at a number of mavericks, most of whom are composers of art music, including William Billings, John Cage, Anthony Philip Heinrich, Frank Zappa, Charles Ives, Leo Ornstein, La Monte Young, Steve Reich, Carl Ruggles, Henry Cowell, Harry Partch, and Meredith Monk. The book shows that the maverick tradition lies at the center of the myth about rugged individualism. In tracing the history of the maverick tradition, the book considers the role of nature, both physically and metaphorically, in opposition to notions of science and progress. Moreover, it discusses the forces both in the musical community and in American culture that account for the rise of the maverick. It considers the fundamental question raised by the maverick tradition—communalism versus individualism—and looks at the important themes of Puritanism, nature, and democracy found in the work of both Billings and Heinrich.Less
This book focuses on America's maverick composers, those who lived unusual lives or flaunted norms and wrote works that were considered incomprehensible and even unplayable. It examines the role of the maverick in American music and culture. It looks at a number of mavericks, most of whom are composers of art music, including William Billings, John Cage, Anthony Philip Heinrich, Frank Zappa, Charles Ives, Leo Ornstein, La Monte Young, Steve Reich, Carl Ruggles, Henry Cowell, Harry Partch, and Meredith Monk. The book shows that the maverick tradition lies at the center of the myth about rugged individualism. In tracing the history of the maverick tradition, the book considers the role of nature, both physically and metaphorically, in opposition to notions of science and progress. Moreover, it discusses the forces both in the musical community and in American culture that account for the rise of the maverick. It considers the fundamental question raised by the maverick tradition—communalism versus individualism—and looks at the important themes of Puritanism, nature, and democracy found in the work of both Billings and Heinrich.
John Weber
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781469625232
- eISBN:
- 9781469625256
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469625232.003.0006
- Subject:
- History, American History: 20th Century
This chapter illustrates the conditions of the Great Depression in the region and the failure of local and state governments to deal with the worst consequences of the international economic crisis. ...
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This chapter illustrates the conditions of the Great Depression in the region and the failure of local and state governments to deal with the worst consequences of the international economic crisis. Public aid remained almost non-existent, but when it did come, local and state politicians wielded relief policies as the latest in a long line of laws meant to tilt the power in labor relations further away from workers. This chapter examines the objective conditions of life during the 1930s. Continued deportation campaigns, higher unemployment rates, and lower wages exacerbated the problems already present in previous decades. Political solutions to these problems, even during the height of New Deal reformism, proved rare and fleeting as agribusiness interests and conservative politicians maintained control of much of the state despite countervailing pressures.Less
This chapter illustrates the conditions of the Great Depression in the region and the failure of local and state governments to deal with the worst consequences of the international economic crisis. Public aid remained almost non-existent, but when it did come, local and state politicians wielded relief policies as the latest in a long line of laws meant to tilt the power in labor relations further away from workers. This chapter examines the objective conditions of life during the 1930s. Continued deportation campaigns, higher unemployment rates, and lower wages exacerbated the problems already present in previous decades. Political solutions to these problems, even during the height of New Deal reformism, proved rare and fleeting as agribusiness interests and conservative politicians maintained control of much of the state despite countervailing pressures.
Jonathan L Kvanvig
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780199696574
- eISBN:
- 9780191732270
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199696574.003.0006
- Subject:
- Philosophy, Philosophy of Religion, Metaphysics/Epistemology
The core motivation for Molinism is a desire to preserve a libertarian account of human freedom while at the same time defending a strong view of divine providence, but in recent times it was ...
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The core motivation for Molinism is a desire to preserve a libertarian account of human freedom while at the same time defending a strong view of divine providence, but in recent times it was introduced by Alvin Plantinga in order to rebut certain versions of the problem of evil. Viewed from this perspective concerning the problem of evil, the key ingredient of the view is the existence of counterfactuals of freedom — counterfactuals concerning what any free individual would freely do in a given set of circumstances. What we are interested in here, and what is most relevant to the context of theological reflection on the nature of God's providence, is not the counterfactuals themselves but rather the choice situation in which the individual in question is deliberating about what to do. This chapter argues that we need a more fundamental investigation, focusing on conditionals of deliberation rather than on counterfactuals of creaturely freedom. It is a quite natural assumption to think of conditionals of deliberation in terms of counterfactuals, and hence it is quite natural to clarify a Molinist account of providence in terms of counterfactuals. Such an identification, however, is a mistake. The chapter concludes that attempts to avoid the need to engage in this more fundamental investigation by showing that there is no coherent Maverick position have failed. The best remedy is to abandon such resistance and pursue the more fundamental investigation to see what the prospects are for an account of creation that makes room for libertarian freedom while leaving the doctrine of providence intact.Less
The core motivation for Molinism is a desire to preserve a libertarian account of human freedom while at the same time defending a strong view of divine providence, but in recent times it was introduced by Alvin Plantinga in order to rebut certain versions of the problem of evil. Viewed from this perspective concerning the problem of evil, the key ingredient of the view is the existence of counterfactuals of freedom — counterfactuals concerning what any free individual would freely do in a given set of circumstances. What we are interested in here, and what is most relevant to the context of theological reflection on the nature of God's providence, is not the counterfactuals themselves but rather the choice situation in which the individual in question is deliberating about what to do. This chapter argues that we need a more fundamental investigation, focusing on conditionals of deliberation rather than on counterfactuals of creaturely freedom. It is a quite natural assumption to think of conditionals of deliberation in terms of counterfactuals, and hence it is quite natural to clarify a Molinist account of providence in terms of counterfactuals. Such an identification, however, is a mistake. The chapter concludes that attempts to avoid the need to engage in this more fundamental investigation by showing that there is no coherent Maverick position have failed. The best remedy is to abandon such resistance and pursue the more fundamental investigation to see what the prospects are for an account of creation that makes room for libertarian freedom while leaving the doctrine of providence intact.
Richard Taruskin
- Published in print:
- 2008
- Published Online:
- May 2012
- ISBN:
- 9780520249776
- eISBN:
- 9780520942790
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520249776.003.0024
- Subject:
- Music, Theory, Analysis, Composition
This chapter presents information on the theme and programs of the San Francisco Symphony's American Mavericks festival. Michael Tilson Thomas, the orchestra's music director worked hard to invest ...
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This chapter presents information on the theme and programs of the San Francisco Symphony's American Mavericks festival. Michael Tilson Thomas, the orchestra's music director worked hard to invest the theme with coherence. The theme proposed was fraught with volatile issues concerning American identity and the place of the arts in an egalitarian society. The opening was breathtaking. The timpanist, bestriding the top of an implied pyramid on a riser at the orchestra's rear, whacked out his barbaric yawp at the beginning of Ruggles's Sun-Treader with marvelously simulated abandon. The program notes were eloquent about the problems Crawford Seeger had to endure in her day because of the American modern-music world's misogyny, and about the impact of Babbittry on her style. Her Andante, gentle by comparison with Sun-Treader, strongly resembles Samuel Barber's nearly contemporaneous Adagio for Strings.Less
This chapter presents information on the theme and programs of the San Francisco Symphony's American Mavericks festival. Michael Tilson Thomas, the orchestra's music director worked hard to invest the theme with coherence. The theme proposed was fraught with volatile issues concerning American identity and the place of the arts in an egalitarian society. The opening was breathtaking. The timpanist, bestriding the top of an implied pyramid on a riser at the orchestra's rear, whacked out his barbaric yawp at the beginning of Ruggles's Sun-Treader with marvelously simulated abandon. The program notes were eloquent about the problems Crawford Seeger had to endure in her day because of the American modern-music world's misogyny, and about the impact of Babbittry on her style. Her Andante, gentle by comparison with Sun-Treader, strongly resembles Samuel Barber's nearly contemporaneous Adagio for Strings.
James Wierzbicki
- Published in print:
- 2016
- Published Online:
- April 2017
- ISBN:
- 9780252040078
- eISBN:
- 9780252098277
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252040078.003.0010
- Subject:
- Music, History, American
This chapter focuses on the concept of “maverick,” a term as American as the Stars and Stripes that the notion of the “maverick composer” is likewise unique to the United States. An important handful ...
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This chapter focuses on the concept of “maverick,” a term as American as the Stars and Stripes that the notion of the “maverick composer” is likewise unique to the United States. An important handful of American composers in the postwar years demonstrated a comparable lack of interest not in music but in the traditional business of music-making. As much as they could, they avoided the universities that supported so many of the modernists. They avoided, too, the opera companies and symphony orchestras that through commissions and performances supported so many of the mainstreamers. Occasionally, they banded together in collectives whose members pursued similar goals and thus were mutually influential. However, most of the time, the maverick composers of the Fifties marched to the beats of very different drummers.Less
This chapter focuses on the concept of “maverick,” a term as American as the Stars and Stripes that the notion of the “maverick composer” is likewise unique to the United States. An important handful of American composers in the postwar years demonstrated a comparable lack of interest not in music but in the traditional business of music-making. As much as they could, they avoided the universities that supported so many of the modernists. They avoided, too, the opera companies and symphony orchestras that through commissions and performances supported so many of the mainstreamers. Occasionally, they banded together in collectives whose members pursued similar goals and thus were mutually influential. However, most of the time, the maverick composers of the Fifties marched to the beats of very different drummers.
Dominic Standish
- Published in print:
- 2016
- Published Online:
- January 2019
- ISBN:
- 9781496809889
- eISBN:
- 9781496809926
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496809889.003.0012
- Subject:
- Sociology, Sport and Leisure
Rodney Marsh is a British footballer who found his sporting success in his home country and the United States in the 1960s and 1970s. This chapter frames Marsh as a maverick, as a result of his ...
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Rodney Marsh is a British footballer who found his sporting success in his home country and the United States in the 1960s and 1970s. This chapter frames Marsh as a maverick, as a result of his drinking, womanizing, gambling, but also his blatant disregard for the rules of the game and society. Largely based on Marsh’s own words, from interviews and his autobiography, the chapter examines the ways Marsh was understood as a maverick in the sport of football.Less
Rodney Marsh is a British footballer who found his sporting success in his home country and the United States in the 1960s and 1970s. This chapter frames Marsh as a maverick, as a result of his drinking, womanizing, gambling, but also his blatant disregard for the rules of the game and society. Largely based on Marsh’s own words, from interviews and his autobiography, the chapter examines the ways Marsh was understood as a maverick in the sport of football.
Michael Broyles
- Published in print:
- 2004
- Published Online:
- October 2013
- ISBN:
- 9780300100457
- eISBN:
- 9780300127898
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300100457.001.0001
- Subject:
- Music, Theory, Analysis, Composition
From colonial times to the present, American composers have lived on the fringes of society and defined themselves in large part as outsiders. This book considers the tradition of maverick composers ...
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From colonial times to the present, American composers have lived on the fringes of society and defined themselves in large part as outsiders. This book considers the tradition of maverick composers and explores what these mavericks reveal about American attitudes toward the arts and about American society itself. It starts by examining the careers of three notably unconventional composers: William Billings in the eighteenth century, Anthony Philip Heinrich in the nineteenth, and Charles Ives in the twentieth. All three had unusual lives, wrote music that many considered incomprehensible, and are now recognized as key figures in the development of American music. The book investigates the proliferation of eccentric individualism in all types of American music—classical, popular, and jazz—and how it has come to dominate the image of diverse creative artists from John Cage to Frank Zappa. The history of the maverick tradition, it shows, has much to tell us about the role of music in American culture, and about the tension between individualism and community in the American consciousness.Less
From colonial times to the present, American composers have lived on the fringes of society and defined themselves in large part as outsiders. This book considers the tradition of maverick composers and explores what these mavericks reveal about American attitudes toward the arts and about American society itself. It starts by examining the careers of three notably unconventional composers: William Billings in the eighteenth century, Anthony Philip Heinrich in the nineteenth, and Charles Ives in the twentieth. All three had unusual lives, wrote music that many considered incomprehensible, and are now recognized as key figures in the development of American music. The book investigates the proliferation of eccentric individualism in all types of American music—classical, popular, and jazz—and how it has come to dominate the image of diverse creative artists from John Cage to Frank Zappa. The history of the maverick tradition, it shows, has much to tell us about the role of music in American culture, and about the tension between individualism and community in the American consciousness.
Broyles Michael
- Published in print:
- 2004
- Published Online:
- October 2013
- ISBN:
- 9780300100457
- eISBN:
- 9780300127898
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300100457.003.0012
- Subject:
- Music, Theory, Analysis, Composition
American mavericks dramatically transformed the musical world in the twentieth century. The end of the Renaissance was heralded not by the serialists or the free atonalists that defined an ...
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American mavericks dramatically transformed the musical world in the twentieth century. The end of the Renaissance was heralded not by the serialists or the free atonalists that defined an avant-garde style after World War II, but by a group of experimentalists who rejected the premises upon which the very definition of art music was based. Yet what may be the turning point toward a new musical culture occurred on November 13, 1940, when Walt Disney premiered Fantasia, a film that became the subject of debate in the classical music establishment and whose implications were explored by the mavericks such as Edgard Varèse, Harry Partch, and John Cage. Throughout the 1960s and 1970s the visual was exploited by most popular music acts in different ways. Concerts themselves always had and continue to have a strong visual element. In the 1990s, a new phenomenon emerged: the formation of classical ensembles based on visual appeal. The visual element is most prominent in opera.Less
American mavericks dramatically transformed the musical world in the twentieth century. The end of the Renaissance was heralded not by the serialists or the free atonalists that defined an avant-garde style after World War II, but by a group of experimentalists who rejected the premises upon which the very definition of art music was based. Yet what may be the turning point toward a new musical culture occurred on November 13, 1940, when Walt Disney premiered Fantasia, a film that became the subject of debate in the classical music establishment and whose implications were explored by the mavericks such as Edgard Varèse, Harry Partch, and John Cage. Throughout the 1960s and 1970s the visual was exploited by most popular music acts in different ways. Concerts themselves always had and continue to have a strong visual element. In the 1990s, a new phenomenon emerged: the formation of classical ensembles based on visual appeal. The visual element is most prominent in opera.
Broyles Michael
- Published in print:
- 2004
- Published Online:
- October 2013
- ISBN:
- 9780300100457
- eISBN:
- 9780300127898
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300100457.003.0005
- Subject:
- Music, Theory, Analysis, Composition
The emergence of modernism in the American musical world represents a dramatic break with the past. Initial attempts to plant musical modernism on American soil proved futile, but change finally ...
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The emergence of modernism in the American musical world represents a dramatic break with the past. Initial attempts to plant musical modernism on American soil proved futile, but change finally occurred in the 1920s, thanks to a group of headstrong, individualist, imaginative, creative maverick composers. It happened in 1922, when ultramodern musicians, helped by sympathizers in the other arts, began to launch what became a successful campaign to establish modernism in American music. These ultramoderns succeeded because they organized in a way no musicians had done before, thus dramatically transforming relationship between artist and the public. In New York, it was the American photographer Alfred Stieglitz who had helped make modernism part of the art world since the beginning of the twentieth century. The man who had his pulse on American music in 1920 was Paul Rosenfeld, the most important voice for the musical avant-garde from 1917 through the 1920.Less
The emergence of modernism in the American musical world represents a dramatic break with the past. Initial attempts to plant musical modernism on American soil proved futile, but change finally occurred in the 1920s, thanks to a group of headstrong, individualist, imaginative, creative maverick composers. It happened in 1922, when ultramodern musicians, helped by sympathizers in the other arts, began to launch what became a successful campaign to establish modernism in American music. These ultramoderns succeeded because they organized in a way no musicians had done before, thus dramatically transforming relationship between artist and the public. In New York, it was the American photographer Alfred Stieglitz who had helped make modernism part of the art world since the beginning of the twentieth century. The man who had his pulse on American music in 1920 was Paul Rosenfeld, the most important voice for the musical avant-garde from 1917 through the 1920.
Jon Bird and Ezequiel Di Paolo
- Published in print:
- 2008
- Published Online:
- August 2013
- ISBN:
- 9780262083775
- eISBN:
- 9780262256384
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262083775.003.0008
- Subject:
- Computer Science, Artificial Intelligence
This chapter focuses on the early period of Gordon Pask’s life, tracing the development of his research from his days as a Cambridge undergraduate to the period in the late 1950s when his work ...
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This chapter focuses on the early period of Gordon Pask’s life, tracing the development of his research from his days as a Cambridge undergraduate to the period in the late 1950s when his work started to have an impact internationally. It describes three of his maverick machines: Musicolour, a sound-actuated interactive light show; SAKI, a keyboard-skill training machine; and an electrochemical device that grew an “ear.” It assesses the value of these machines, fifty years after they were built, in particular, the maverick ideas that they embody.Less
This chapter focuses on the early period of Gordon Pask’s life, tracing the development of his research from his days as a Cambridge undergraduate to the period in the late 1950s when his work started to have an impact internationally. It describes three of his maverick machines: Musicolour, a sound-actuated interactive light show; SAKI, a keyboard-skill training machine; and an electrochemical device that grew an “ear.” It assesses the value of these machines, fifty years after they were built, in particular, the maverick ideas that they embody.
David C. Paul
- Published in print:
- 2013
- Published Online:
- April 2017
- ISBN:
- 9780252037498
- eISBN:
- 9780252094699
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252037498.003.0007
- Subject:
- Music, History, American
This chapter examines how Charles E. Ives has been affected by the transformations in American musicology over the last twenty-five years. It begins with a discussion of Maynard Solomon's accusation ...
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This chapter examines how Charles E. Ives has been affected by the transformations in American musicology over the last twenty-five years. It begins with a discussion of Maynard Solomon's accusation that Ives had engaged in a “systematic pattern of falsification” to safeguard his claims at the patent-house of musical modernism. It then considers how Solomon's criticisms served as the catalyst for an explosion of scholarly activity centered on Ives in the 1990s. In particular, it describes the approaches taken by musicologists to rebut Solomon, including those associated with “New Musicology.” It also explores the etiology of the myth that Ives was a patriarch of a lineage of composers known as the American Mavericks, along with the vicissitudes of Ives scholarship at the turn of the twentieth century.Less
This chapter examines how Charles E. Ives has been affected by the transformations in American musicology over the last twenty-five years. It begins with a discussion of Maynard Solomon's accusation that Ives had engaged in a “systematic pattern of falsification” to safeguard his claims at the patent-house of musical modernism. It then considers how Solomon's criticisms served as the catalyst for an explosion of scholarly activity centered on Ives in the 1990s. In particular, it describes the approaches taken by musicologists to rebut Solomon, including those associated with “New Musicology.” It also explores the etiology of the myth that Ives was a patriarch of a lineage of composers known as the American Mavericks, along with the vicissitudes of Ives scholarship at the turn of the twentieth century.
Shayne Lee and Phillip Luke Sinitiere
- Published in print:
- 2009
- Published Online:
- March 2016
- ISBN:
- 9780814752340
- eISBN:
- 9780814753453
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814752340.003.0002
- Subject:
- Religion, Religion and Society
This chapter provides a historical context for America's competitive religious marketplace and constructs an archetype for enterprising spiritual leaders dubbed as holy mavericks. Using the ...
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This chapter provides a historical context for America's competitive religious marketplace and constructs an archetype for enterprising spiritual leaders dubbed as holy mavericks. Using the pioneering ministry of eighteenth-century revivalist George Whitefield as the starting point, it explores how evangelical innovators enjoy larger shares of the market than other religious suppliers by adapting to changing environments in a multiplicity of contexts. It argues that the diverse ways that holy mavericks construct evangelical archetypes borrow from their personal biographies and the contiguous cultural formations of our postindustrial sight-and-sound generation. Paula White, T. D. Jakes, Rick Warren, Joel Osteen, and Brian McLaren did not suddenly appear out of nowhere; certain life experiences and structural changes equipped them with cultural tool kits to transform their spiritual gifts into saleable commodities. White and Jakes draw homiletics from a black church preaching aesthetic, whereas Warren employs an upbeat motivational speaking style. Osteen feeds Americans' taste for consumption, while McLaren taps into some Americans' commitment to dissent from the status quo.Less
This chapter provides a historical context for America's competitive religious marketplace and constructs an archetype for enterprising spiritual leaders dubbed as holy mavericks. Using the pioneering ministry of eighteenth-century revivalist George Whitefield as the starting point, it explores how evangelical innovators enjoy larger shares of the market than other religious suppliers by adapting to changing environments in a multiplicity of contexts. It argues that the diverse ways that holy mavericks construct evangelical archetypes borrow from their personal biographies and the contiguous cultural formations of our postindustrial sight-and-sound generation. Paula White, T. D. Jakes, Rick Warren, Joel Osteen, and Brian McLaren did not suddenly appear out of nowhere; certain life experiences and structural changes equipped them with cultural tool kits to transform their spiritual gifts into saleable commodities. White and Jakes draw homiletics from a black church preaching aesthetic, whereas Warren employs an upbeat motivational speaking style. Osteen feeds Americans' taste for consumption, while McLaren taps into some Americans' commitment to dissent from the status quo.
Silvia Domínguez
- Published in print:
- 2012
- Published Online:
- March 2016
- ISBN:
- 9780814784044
- eISBN:
- 9780814724705
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814784044.003.0007
- Subject:
- Sociology, Race and Ethnicity
This chapter concerns two sets of Latina/o residents in public housing in Boston in 2000: residents of Maverick Gardens in East Boston, near a busy Latina/o enclave, and residents of Mary Ellen ...
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This chapter concerns two sets of Latina/o residents in public housing in Boston in 2000: residents of Maverick Gardens in East Boston, near a busy Latina/o enclave, and residents of Mary Ellen McCormack in South Boston, in an Irish American neighborhood. These public housing developments, like others in Boston, had been court-ordered to integrate in 1988. The economic fortunes of residents in the two projects depend primarily on the professionalism of the two tenant task forces: Maverick's did not show leadership in disseminating information, democratizing the board of directors, or forging ties with local service organizations, whereas McCormack's task force provided culturally responsive services that enabled many project residents to achieve economic and residential mobility.Less
This chapter concerns two sets of Latina/o residents in public housing in Boston in 2000: residents of Maverick Gardens in East Boston, near a busy Latina/o enclave, and residents of Mary Ellen McCormack in South Boston, in an Irish American neighborhood. These public housing developments, like others in Boston, had been court-ordered to integrate in 1988. The economic fortunes of residents in the two projects depend primarily on the professionalism of the two tenant task forces: Maverick's did not show leadership in disseminating information, democratizing the board of directors, or forging ties with local service organizations, whereas McCormack's task force provided culturally responsive services that enabled many project residents to achieve economic and residential mobility.
Max Krochmal
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781469626758
- eISBN:
- 9781469628035
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469626758.003.0008
- Subject:
- History, African-American History
This chapter follows the 1961 campaign for Lyndon Johnson’s senate seat. Henry B. Gonzalez and Maury Maverick Jr., the two liberal legislators and frequent allies from San Antonio, each declared ...
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This chapter follows the 1961 campaign for Lyndon Johnson’s senate seat. Henry B. Gonzalez and Maury Maverick Jr., the two liberal legislators and frequent allies from San Antonio, each declared their candidacies for the seat. Meanwhile, Mexican-American organizers sought to convert Viva Kennedy clubs into a permanent organization and a force in Texas politics. Their new group, the Political Association of Spanish-Speaking Organizations (PASO), would bring together a diverse collection of mexicano labor, civil rights, and political activists that—despite their common cultural heritage—would debate the organization’s program and methods throughout its formative years.Less
This chapter follows the 1961 campaign for Lyndon Johnson’s senate seat. Henry B. Gonzalez and Maury Maverick Jr., the two liberal legislators and frequent allies from San Antonio, each declared their candidacies for the seat. Meanwhile, Mexican-American organizers sought to convert Viva Kennedy clubs into a permanent organization and a force in Texas politics. Their new group, the Political Association of Spanish-Speaking Organizations (PASO), would bring together a diverse collection of mexicano labor, civil rights, and political activists that—despite their common cultural heritage—would debate the organization’s program and methods throughout its formative years.
