David Sanders
- Published in print:
- 1998
- Published Online:
- November 2003
- ISBN:
- 9780198294719
- eISBN:
- 9780191599361
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0198294719.003.0017
- Subject:
- Political Science, Reference
The neo‐liberal/realism trend in international relations grew from a frustration (specifically of Waltz) with the simplicity and reductionism of realism. Game theoretical rigour and analysis of ...
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The neo‐liberal/realism trend in international relations grew from a frustration (specifically of Waltz) with the simplicity and reductionism of realism. Game theoretical rigour and analysis of competition between nation‐states developed the field, but Sanders questions how much more we understand as a result. An alternative is offered in ‘concessional realism’, whereby analysis is furthered by a simple and flexible set of propositions about nation‐state behaviour. The propositions of each approach are outlined.Less
The neo‐liberal/realism trend in international relations grew from a frustration (specifically of Waltz) with the simplicity and reductionism of realism. Game theoretical rigour and analysis of competition between nation‐states developed the field, but Sanders questions how much more we understand as a result. An alternative is offered in ‘concessional realism’, whereby analysis is furthered by a simple and flexible set of propositions about nation‐state behaviour. The propositions of each approach are outlined.
Peter van der Merwe
- Published in print:
- 2004
- Published Online:
- May 2008
- ISBN:
- 9780198166474
- eISBN:
- 9780191713880
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198166474.003.0013
- Subject:
- Music, History, Western
This chapter deals briefly with the polka and its musical relatives, and with the waltz in detail. It traces the history of these dances from primitive beginnings, showing how increasing length and ...
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This chapter deals briefly with the polka and its musical relatives, and with the waltz in detail. It traces the history of these dances from primitive beginnings, showing how increasing length and complexity (of melody, harmony, and rhythm alike) coexisted with an underlying simplicity. The waltz ‘suite’ of successive tunes (e.g., Johann Strauss's ‘Blue Danube’) is discussed, pointing out the subtle unifying devices employed by the great waltz composers.Less
This chapter deals briefly with the polka and its musical relatives, and with the waltz in detail. It traces the history of these dances from primitive beginnings, showing how increasing length and complexity (of melody, harmony, and rhythm alike) coexisted with an underlying simplicity. The waltz ‘suite’ of successive tunes (e.g., Johann Strauss's ‘Blue Danube’) is discussed, pointing out the subtle unifying devices employed by the great waltz composers.
Derek B. Scott
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780195309461
- eISBN:
- 9780199871254
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195309461.003.0003
- Subject:
- Music, History, Western
Nineteenth-century bourgeois values were abundant, as were their ideological functions (thrift set against extravagance, self-help against dependence, hard work against idleness) but, where art and ...
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Nineteenth-century bourgeois values were abundant, as were their ideological functions (thrift set against extravagance, self-help against dependence, hard work against idleness) but, where art and entertainment were concerned, the key value in asserting moral leadership was respectability. It was something within the grasp of all, unlike the aristocratic notion of “good breeding”. It followed that recreation should be rational, designed to be improving, and not merely idle amusement. The rational and the recreational were linked together in the sight-singing movement. There were, of course, other kinds of musical activities to worry about: for instance, the moral propriety of the waltz, or the innuendo to be found in songs of the café-concert and music hall, or political songs. Yet, not even Gilbert and Sullivan are morally unimpeachable. A respectable moral tone is at its strongest in the drawing-room ballad, but even sterner moral fiber is found in temperance ballads.Less
Nineteenth-century bourgeois values were abundant, as were their ideological functions (thrift set against extravagance, self-help against dependence, hard work against idleness) but, where art and entertainment were concerned, the key value in asserting moral leadership was respectability. It was something within the grasp of all, unlike the aristocratic notion of “good breeding”. It followed that recreation should be rational, designed to be improving, and not merely idle amusement. The rational and the recreational were linked together in the sight-singing movement. There were, of course, other kinds of musical activities to worry about: for instance, the moral propriety of the waltz, or the innuendo to be found in songs of the café-concert and music hall, or political songs. Yet, not even Gilbert and Sullivan are morally unimpeachable. A respectable moral tone is at its strongest in the drawing-room ballad, but even sterner moral fiber is found in temperance ballads.
William Kinderman
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195342369
- eISBN:
- 9780199851744
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195342369.001.0001
- Subject:
- Music, History, Western
The Thirty-three Variations on a Waltz by Diabelli, Op. 120, represent Beethoven's most extraordinary achievement in the art of variation-writing. In their originality and power of invention, they ...
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The Thirty-three Variations on a Waltz by Diabelli, Op. 120, represent Beethoven's most extraordinary achievement in the art of variation-writing. In their originality and power of invention, they stand beside other late Beethoven masterpieces such as the Ninth Symphony, the Missa Solemnis, and the last quartets. This study of the compositional history of the work includes the first extended investigation and reconstruction of the sketches and drafts, and reveals, contrary to earlier views of its chronology, that it was actually begun in 1819, then put aside, and completed in 1822–3. The author provides an analytical discussion of the complete work, and demonstrates how insights derived from a close study of the sketches can illuminate Beethoven's compositional ideas and attitudes and contribute substantially to a better understanding of this massive and complex set of variations. The book includes complete transcriptions of the two central documents in the genesis of the Diabelli variations: the reconstructed Wittgenstein Sketchbook and the Paris–Landsberg–Montauban Draft.Less
The Thirty-three Variations on a Waltz by Diabelli, Op. 120, represent Beethoven's most extraordinary achievement in the art of variation-writing. In their originality and power of invention, they stand beside other late Beethoven masterpieces such as the Ninth Symphony, the Missa Solemnis, and the last quartets. This study of the compositional history of the work includes the first extended investigation and reconstruction of the sketches and drafts, and reveals, contrary to earlier views of its chronology, that it was actually begun in 1819, then put aside, and completed in 1822–3. The author provides an analytical discussion of the complete work, and demonstrates how insights derived from a close study of the sketches can illuminate Beethoven's compositional ideas and attitudes and contribute substantially to a better understanding of this massive and complex set of variations. The book includes complete transcriptions of the two central documents in the genesis of the Diabelli variations: the reconstructed Wittgenstein Sketchbook and the Paris–Landsberg–Montauban Draft.
Halina Goldberg
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195130737
- eISBN:
- 9780199867424
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195130737.003.0004
- Subject:
- Music, History, Western
Warsaw's music bookstores provided access to a fount of musical knowledge through the repertory printed locally and through imported publications. Through the publication of fashionable musical ...
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Warsaw's music bookstores provided access to a fount of musical knowledge through the repertory printed locally and through imported publications. Through the publication of fashionable musical genres associated with opera and the salon, local printers provided Chopin with the repertory that served as the basis for the formation of his idiomatic musical vocabulary. This chapter includes a brief history of music publishing in Warsaw and detailed descriptions of favored instrumental repertories — mazurkas, polonaises, waltzes, variations, rondos, and fantasias. Vocal repertories published in Warsaw include operatic excerpts, salon romances, sacred music, as well as popular and patriotic songs. The chapter makes connections between these publications and Chopin's early and later compositions.Less
Warsaw's music bookstores provided access to a fount of musical knowledge through the repertory printed locally and through imported publications. Through the publication of fashionable musical genres associated with opera and the salon, local printers provided Chopin with the repertory that served as the basis for the formation of his idiomatic musical vocabulary. This chapter includes a brief history of music publishing in Warsaw and detailed descriptions of favored instrumental repertories — mazurkas, polonaises, waltzes, variations, rondos, and fantasias. Vocal repertories published in Warsaw include operatic excerpts, salon romances, sacred music, as well as popular and patriotic songs. The chapter makes connections between these publications and Chopin's early and later compositions.
William Kinderman
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195342369
- eISBN:
- 9780199851744
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195342369.003.0010
- Subject:
- Music, History, Western
This chapter presents an introduction to the transcriptions of the two central documents in the genesis of the Diabelli Variations — the reconstructed Wittgenstein Sketchbook and the ...
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This chapter presents an introduction to the transcriptions of the two central documents in the genesis of the Diabelli Variations — the reconstructed Wittgenstein Sketchbook and the Paris–Landsberg–Montauban Draft — provided in Chapter XI. Whereas the other sketch sources could be adequately discussed with the aid of musical examples in the text, the scale, complexity, and chronological significance of Wittgenstein and the PLM Draft warrant complete transcription. These sources provide the reader with a rare opportunity to glimpse into Beethoven's workshop at a formative stage of one of his greatest works.Less
This chapter presents an introduction to the transcriptions of the two central documents in the genesis of the Diabelli Variations — the reconstructed Wittgenstein Sketchbook and the Paris–Landsberg–Montauban Draft — provided in Chapter XI. Whereas the other sketch sources could be adequately discussed with the aid of musical examples in the text, the scale, complexity, and chronological significance of Wittgenstein and the PLM Draft warrant complete transcription. These sources provide the reader with a rare opportunity to glimpse into Beethoven's workshop at a formative stage of one of his greatest works.
William Kinderman
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195342369
- eISBN:
- 9780199851744
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195342369.003.0006
- Subject:
- Music, History, Western
This chapter examines Beethoven's interpretation of the total shape of Diabelli's waltz. This last structural tie to Diabelli — the descending fourth and fifth in the first half-balanced by an ...
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This chapter examines Beethoven's interpretation of the total shape of Diabelli's waltz. This last structural tie to Diabelli — the descending fourth and fifth in the first half-balanced by an ascending fifth and sixth in the second — derives force from its role as part of the overall linear progression of Diabelli's waltz. This is, however, of central importance. In order to perceive the basis for Beethoven's most striking departures from Diabelli, and particularly his harmonic innovations, the linear and harmonic parameters of the waltz must be evaluated. Diabelli's theme has been disparaged, and not without reason; but its primitive virtues should not be overlooked. Its rustic vitality and clear-cut motives lend themselves well to variation and, for that matter, to parody.Less
This chapter examines Beethoven's interpretation of the total shape of Diabelli's waltz. This last structural tie to Diabelli — the descending fourth and fifth in the first half-balanced by an ascending fifth and sixth in the second — derives force from its role as part of the overall linear progression of Diabelli's waltz. This is, however, of central importance. In order to perceive the basis for Beethoven's most striking departures from Diabelli, and particularly his harmonic innovations, the linear and harmonic parameters of the waltz must be evaluated. Diabelli's theme has been disparaged, and not without reason; but its primitive virtues should not be overlooked. Its rustic vitality and clear-cut motives lend themselves well to variation and, for that matter, to parody.
Giulia Miller
- Published in print:
- 2017
- Published Online:
- February 2021
- ISBN:
- 9781911325154
- eISBN:
- 9781800342217
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781911325154.003.0007
- Subject:
- Film, Television and Radio, Film
This chapter reviews the mechanisms and features that are considered to be unique to Ari Folman's Waltz with Bashir. It explains how animation is used in conjunction with the documentary format and ...
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This chapter reviews the mechanisms and features that are considered to be unique to Ari Folman's Waltz with Bashir. It explains how animation is used in conjunction with the documentary format and how the construction of plot manipulates the understanding of events. It also looks at the tension between the general and specific that are maintained throughout Waltz with Bashir and examines how the Holocaust narrative is employed. The chapter summarizes the function and significance of Waltz with Bashir and examines the retrospective viewpoint of Folman's film, which creates a narrative of traumatic event first then memory later. It points out how Waltz with Bashir is framed within a recognizable historical and political setting that is specific enough to appeal to an interested audience, though vague enough not to overwhelm the spectator with facts and figures.Less
This chapter reviews the mechanisms and features that are considered to be unique to Ari Folman's Waltz with Bashir. It explains how animation is used in conjunction with the documentary format and how the construction of plot manipulates the understanding of events. It also looks at the tension between the general and specific that are maintained throughout Waltz with Bashir and examines how the Holocaust narrative is employed. The chapter summarizes the function and significance of Waltz with Bashir and examines the retrospective viewpoint of Folman's film, which creates a narrative of traumatic event first then memory later. It points out how Waltz with Bashir is framed within a recognizable historical and political setting that is specific enough to appeal to an interested audience, though vague enough not to overwhelm the spectator with facts and figures.
Hidemi Suganami
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780198273387
- eISBN:
- 9780191684043
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198273387.003.0001
- Subject:
- Political Science, International Relations and Politics
The study of international relations in general, and that of the causes of war in particular, is dominated by ‘non-philosophers.’ This book investigates the causes of war by focusing on three ...
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The study of international relations in general, and that of the causes of war in particular, is dominated by ‘non-philosophers.’ This book investigates the causes of war by focusing on three questions: What are the conditions which must be present for wars to occur? Under what sorts of circumstances have wars occurred more frequently? How did this particular war come about? The book looks at war among states and focuses on actual wars that are all instances of ‘international war’. Kenneth Waltz has argued that attempts to explain war in terms of the nature of man and the nature of the state are unsatisfactory because they fail to take into account the nature of the international system. Earlier attempts, such as those of Waltz, and Keith Nelson and Spencer Olin, to select or construct a plausible theory of war by classifying and scrutinizing existing theories are unsatisfactory because they failed to take seriously the philosophical problems of causation and explanation. ‘Theorizing’ via ‘mapping’ needs to incorporate ‘bridge-building’ between the empirical and the conceptual.Less
The study of international relations in general, and that of the causes of war in particular, is dominated by ‘non-philosophers.’ This book investigates the causes of war by focusing on three questions: What are the conditions which must be present for wars to occur? Under what sorts of circumstances have wars occurred more frequently? How did this particular war come about? The book looks at war among states and focuses on actual wars that are all instances of ‘international war’. Kenneth Waltz has argued that attempts to explain war in terms of the nature of man and the nature of the state are unsatisfactory because they fail to take into account the nature of the international system. Earlier attempts, such as those of Waltz, and Keith Nelson and Spencer Olin, to select or construct a plausible theory of war by classifying and scrutinizing existing theories are unsatisfactory because they failed to take seriously the philosophical problems of causation and explanation. ‘Theorizing’ via ‘mapping’ needs to incorporate ‘bridge-building’ between the empirical and the conceptual.
Hidemi Suganami
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780198273387
- eISBN:
- 9780191684043
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198273387.003.0002
- Subject:
- Political Science, International Relations and Politics
This chapter examines two major contributions to the study of how to reason about the causes of war. They are Kenneth Waltz's Man, the State and War, published in 1959, and Keith Nelson and Spencer ...
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This chapter examines two major contributions to the study of how to reason about the causes of war. They are Kenneth Waltz's Man, the State and War, published in 1959, and Keith Nelson and Spencer Olin's Why War?, which appeared twenty years later. Man, the State and War deals with three levels of analysis regarding the causes of war: the levels of man, the state, and the international system. The two works classify a large variety of answers that have emerged concerning the causes of war, and they do so in different, though partially overlapping ways. But neither of them pays sufficient attention to the important fact that a number of distinct questions arise. This common defect is partly responsible for leading Waltz, as well as Nelson and Olin, into advancing their own causal theories of war, which are in turn defective. Their works, in their own ways, are important contributions to the study of how to reason about the causes of war, and in the case of Waltz's book, a pioneering one.Less
This chapter examines two major contributions to the study of how to reason about the causes of war. They are Kenneth Waltz's Man, the State and War, published in 1959, and Keith Nelson and Spencer Olin's Why War?, which appeared twenty years later. Man, the State and War deals with three levels of analysis regarding the causes of war: the levels of man, the state, and the international system. The two works classify a large variety of answers that have emerged concerning the causes of war, and they do so in different, though partially overlapping ways. But neither of them pays sufficient attention to the important fact that a number of distinct questions arise. This common defect is partly responsible for leading Waltz, as well as Nelson and Olin, into advancing their own causal theories of war, which are in turn defective. Their works, in their own ways, are important contributions to the study of how to reason about the causes of war, and in the case of Waltz's book, a pioneering one.
Hidemi Suganami
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780198273387
- eISBN:
- 9780191684043
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198273387.003.0003
- Subject:
- Political Science, International Relations and Politics
The conditions that must be present for wars to occur may be called ‘prerequisites’ or ‘necessary conditions’ of war. If such conditions do exist, we may be able to identify them, and perhaps even ...
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The conditions that must be present for wars to occur may be called ‘prerequisites’ or ‘necessary conditions’ of war. If such conditions do exist, we may be able to identify them, and perhaps even remove them. It is in the nature of necessary conditions of war that, if we were to have succeeded in removing any one of them, we would necessarily have eliminated all future wars. The absence of any one of them would veto the very possibility of war. It is therefore such conditions that the seekers of world peace would wish ideally to be able to identify. This chapter examines two main ways of identifying a ‘necessary condition’, which it is important to distinguish at the outset. Kenneth Waltz argues that international anarchy’, or the fact that there is nothing in the international system to prevent war, is ‘the permissive cause’ of war. There are also a few things about human nature that constitute necessary conditions of war.Less
The conditions that must be present for wars to occur may be called ‘prerequisites’ or ‘necessary conditions’ of war. If such conditions do exist, we may be able to identify them, and perhaps even remove them. It is in the nature of necessary conditions of war that, if we were to have succeeded in removing any one of them, we would necessarily have eliminated all future wars. The absence of any one of them would veto the very possibility of war. It is therefore such conditions that the seekers of world peace would wish ideally to be able to identify. This chapter examines two main ways of identifying a ‘necessary condition’, which it is important to distinguish at the outset. Kenneth Waltz argues that international anarchy’, or the fact that there is nothing in the international system to prevent war, is ‘the permissive cause’ of war. There are also a few things about human nature that constitute necessary conditions of war.
Hidemi Suganami
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780198273387
- eISBN:
- 9780191684043
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198273387.003.0006
- Subject:
- Political Science, International Relations and Politics
Kenneth Waltz, one of the most influential theorists of international relations, and of war in particular, has paid very little attention to the variety of ways in which war comes about. His main ...
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Kenneth Waltz, one of the most influential theorists of international relations, and of war in particular, has paid very little attention to the variety of ways in which war comes about. His main concern is the constant possibility and recurrence of war, rather than the occurrence of any particular war. Wars may be different in terms of their immediate causes, Waltz appears to concede. But, in his judgement, they are all the same with respect to their underlying cause. This is said to be ‘international anarchy’. This chapter attempts to replace Waltz's third-image theory, and his tripartite analysis itself, with a more comprehensive overview, or understanding, of war origins. It presents a theory of war origins that takes more seriously than Waltz has done the fact that wars come about in different ways. It investigates what sorts of thing fall under the categories of the background, chance coincidences, mechanisms, and government actions. These are the four building blocks commonly used in constructing narrative explanations, or stories, of war origins.Less
Kenneth Waltz, one of the most influential theorists of international relations, and of war in particular, has paid very little attention to the variety of ways in which war comes about. His main concern is the constant possibility and recurrence of war, rather than the occurrence of any particular war. Wars may be different in terms of their immediate causes, Waltz appears to concede. But, in his judgement, they are all the same with respect to their underlying cause. This is said to be ‘international anarchy’. This chapter attempts to replace Waltz's third-image theory, and his tripartite analysis itself, with a more comprehensive overview, or understanding, of war origins. It presents a theory of war origins that takes more seriously than Waltz has done the fact that wars come about in different ways. It investigates what sorts of thing fall under the categories of the background, chance coincidences, mechanisms, and government actions. These are the four building blocks commonly used in constructing narrative explanations, or stories, of war origins.
Hidemi Suganami
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780198273387
- eISBN:
- 9780191684043
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198273387.003.0007
- Subject:
- Political Science, International Relations and Politics
This book began by examining two major contributions to the study of how to reason about the causes of war: Man, the State and War by Kenneth Waltz and Why War? by Keith Nelson and Spencer Olin. The ...
More
This book began by examining two major contributions to the study of how to reason about the causes of war: Man, the State and War by Kenneth Waltz and Why War? by Keith Nelson and Spencer Olin. The two works share one serious shortcoming: neither of them pays sufficient attention to the important fact that, under the rubric of the causes of war, a number of distinct questions arise. In particular, it was argued, the following three types must be clearly distinguished as a preliminary move in any discussion of the causes of war: (a) ‘What are the conditions which must be present for wars to occur?’; (b) ‘Under what sorts of circumstances have wars occurred more frequently?’; and (c) ‘How did this particular war come about?’ Waltz's theory of war holds that ‘international anarchy’ is the permissive and underlying cause of war, that an aggressive foreign policy results in war.Less
This book began by examining two major contributions to the study of how to reason about the causes of war: Man, the State and War by Kenneth Waltz and Why War? by Keith Nelson and Spencer Olin. The two works share one serious shortcoming: neither of them pays sufficient attention to the important fact that, under the rubric of the causes of war, a number of distinct questions arise. In particular, it was argued, the following three types must be clearly distinguished as a preliminary move in any discussion of the causes of war: (a) ‘What are the conditions which must be present for wars to occur?’; (b) ‘Under what sorts of circumstances have wars occurred more frequently?’; and (c) ‘How did this particular war come about?’ Waltz's theory of war holds that ‘international anarchy’ is the permissive and underlying cause of war, that an aggressive foreign policy results in war.
Joanna Bosse
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252039010
- eISBN:
- 9780252096983
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039010.003.0010
- Subject:
- Music, Dance
In this interlude, the author reflects on her experience of dancing the last waltz of the evening with Leo, a retired physician who also happens to be her neighbor. She describes Leo as one of her ...
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In this interlude, the author reflects on her experience of dancing the last waltz of the evening with Leo, a retired physician who also happens to be her neighbor. She describes Leo as one of her favorite partners in ballroom dance. He has a somewhat unique, syncretic salsa dance style. As he and the author were dancing the last waltz of the night, David played a vocal number. She sang along, and Leo didn't seem to mind. The author claims that while dancing with Leo, she experienced a pleasurable moment of just disappearing, as is often the case when she smooth dances with him. She was awakened by the closing refrains of the song. As she moved toward him and they were poised together, they turned as one entity. They continued to turn together as the final cadence of the song sounded.Less
In this interlude, the author reflects on her experience of dancing the last waltz of the evening with Leo, a retired physician who also happens to be her neighbor. She describes Leo as one of her favorite partners in ballroom dance. He has a somewhat unique, syncretic salsa dance style. As he and the author were dancing the last waltz of the night, David played a vocal number. She sang along, and Leo didn't seem to mind. The author claims that while dancing with Leo, she experienced a pleasurable moment of just disappearing, as is often the case when she smooth dances with him. She was awakened by the closing refrains of the song. As she moved toward him and they were poised together, they turned as one entity. They continued to turn together as the final cadence of the song sounded.
Harry Bolick, Tony Russell, T. DeWayne Moore, Joyce A. Cauthen, and David Evans
- Published in print:
- 2021
- Published Online:
- May 2022
- ISBN:
- 9781496835796
- eISBN:
- 9781496835833
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496835796.003.0008
- Subject:
- Music, History, American
Charles Mumford Bean (1913–92) was born in Fulton, the largest town of Itawamba County in northeastern Mississippi. He learned banjo and fiddle from his father George, and in about 1924 formed a ...
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Charles Mumford Bean (1913–92) was born in Fulton, the largest town of Itawamba County in northeastern Mississippi. He learned banjo and fiddle from his father George, and in about 1924 formed a string band with his distant cousins Clarence Relder Priddy (1917–97) on mandolin and Morine Little (1910–2000) on guitar. Bean won the tri-county (Itawamba–Monroe–Lee) fiddlers’ contest in 1925. The trio played over WELO, Tupelo on Saturday-night jamborees, and at dances, political rallies, and other functions. In February 1928 they made their only recordings, for Okeh at a location session in Memphis.Less
Charles Mumford Bean (1913–92) was born in Fulton, the largest town of Itawamba County in northeastern Mississippi. He learned banjo and fiddle from his father George, and in about 1924 formed a string band with his distant cousins Clarence Relder Priddy (1917–97) on mandolin and Morine Little (1910–2000) on guitar. Bean won the tri-county (Itawamba–Monroe–Lee) fiddlers’ contest in 1925. The trio played over WELO, Tupelo on Saturday-night jamborees, and at dances, political rallies, and other functions. In February 1928 they made their only recordings, for Okeh at a location session in Memphis.
Jan Brokken
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9781628461855
- eISBN:
- 9781626740914
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628461855.003.0003
- Subject:
- Music, Ethnomusicology, World Music
This chapter describes a concert attended by the author at which he hears the work of several local pianist/composers. It causes great surprise, this music seems to be a well kept secret – certainly ...
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This chapter describes a concert attended by the author at which he hears the work of several local pianist/composers. It causes great surprise, this music seems to be a well kept secret – certainly to the former colonizer, The Netherlands and it is a scandal that no more is known about it.Less
This chapter describes a concert attended by the author at which he hears the work of several local pianist/composers. It causes great surprise, this music seems to be a well kept secret – certainly to the former colonizer, The Netherlands and it is a scandal that no more is known about it.
Jan Brokken
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9781628461855
- eISBN:
- 9781626740914
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628461855.003.0026
- Subject:
- Music, Ethnomusicology, World Music
This chapter discusses the enormous variety of music that can be heard on the Curacaoan radio from Latin American, North American to classical European. It discusses typical instruments on the island ...
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This chapter discusses the enormous variety of music that can be heard on the Curacaoan radio from Latin American, North American to classical European. It discusses typical instruments on the island and various types of church choral music.Less
This chapter discusses the enormous variety of music that can be heard on the Curacaoan radio from Latin American, North American to classical European. It discusses typical instruments on the island and various types of church choral music.
Jan Brokken
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9781628461855
- eISBN:
- 9781626740914
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628461855.003.0034
- Subject:
- Music, Ethnomusicology, World Music
This chapter is an elegiac evocation of the end of an era when the author returns to Holland to live and describes the reception the Curacaoan music he loves so much, describing a concert he has ...
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This chapter is an elegiac evocation of the end of an era when the author returns to Holland to live and describes the reception the Curacaoan music he loves so much, describing a concert he has organized. It rails against the indifference of the Dutch media and critics.Less
This chapter is an elegiac evocation of the end of an era when the author returns to Holland to live and describes the reception the Curacaoan music he loves so much, describing a concert he has organized. It rails against the indifference of the Dutch media and critics.
Maya Plisetskaya
- Published in print:
- 2001
- Published Online:
- October 2013
- ISBN:
- 9780300088571
- eISBN:
- 9780300130713
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300088571.003.0002
- Subject:
- Music, Dance
In this chapter, Maya Plisetskaya describes what she was like at five years old. She describes her physical features and recounts how she would run on tiptoe, making holes in her shoes. She naively ...
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In this chapter, Maya Plisetskaya describes what she was like at five years old. She describes her physical features and recounts how she would run on tiptoe, making holes in her shoes. She naively loved Delibes's waltz from Coppélia and watched a cadet band played it on Sretensky Boulevard during holidays. She attended kindergarten located in the present Moscow City Council building. She had her first trip to the theater when she was five to watch the play entitled Don't Joke with Love.Less
In this chapter, Maya Plisetskaya describes what she was like at five years old. She describes her physical features and recounts how she would run on tiptoe, making holes in her shoes. She naively loved Delibes's waltz from Coppélia and watched a cadet band played it on Sretensky Boulevard during holidays. She attended kindergarten located in the present Moscow City Council building. She had her first trip to the theater when she was five to watch the play entitled Don't Joke with Love.
Maya Plisetskaya
- Published in print:
- 2001
- Published Online:
- October 2013
- ISBN:
- 9780300088571
- eISBN:
- 9780300130713
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300088571.003.0009
- Subject:
- Music, Dance
In this chapter, Maya Plisetskaya recalls the time she met and became friends with Miliza Korjus, her childhood idol, at the backstage of the Shriner Auditorium in Los Angeles in 1966. Miliza was not ...
More
In this chapter, Maya Plisetskaya recalls the time she met and became friends with Miliza Korjus, her childhood idol, at the backstage of the Shriner Auditorium in Los Angeles in 1966. Miliza was not aware that Joseph Stalin liked The Great Waltz a lot and had it distributed on Soviet screens. Maya attended rehearsals at school for an important concert to be held at the club of the NKVD. She wondered why Russia's secret police had a desire to see the young ballet sprouts, the sixth- and seventh-class students of Elizaveta Pavlovna Gerdt. Maya and her classmates danced to piano accompaniment by their best school pianist, Ekaterina Shlikhting.Less
In this chapter, Maya Plisetskaya recalls the time she met and became friends with Miliza Korjus, her childhood idol, at the backstage of the Shriner Auditorium in Los Angeles in 1966. Miliza was not aware that Joseph Stalin liked The Great Waltz a lot and had it distributed on Soviet screens. Maya attended rehearsals at school for an important concert to be held at the club of the NKVD. She wondered why Russia's secret police had a desire to see the young ballet sprouts, the sixth- and seventh-class students of Elizaveta Pavlovna Gerdt. Maya and her classmates danced to piano accompaniment by their best school pianist, Ekaterina Shlikhting.
