Oxford University Press's
Academic Insights for the Thinking World
Not just once, but repeatedly, I have heard something like “I just didn’t see in science any room for my own imagination or creativity,” from young students clearly able to succeed at any subject they set their minds to. It is a tragedy that so many people do not perceive science as a creative. Yet […]
Entrepreneurship for musicians need not be mysterious. It’s really just a different way of looking at your world and capitalizing on opportunities. How do you develop that kind of mindset? Here are five things you can start doing that may help you think like an entrepreneur.
Music histories like these do not offer anything as technical as a musicological analysis, yet they treat music as much more than a soundtrack. They delve deeply into the stylistic attributes, technological production and commercial distribution of music, while situating it within broader contexts shaped by migration, empire, and war, as well as by racial, ethnic, and gender hierarchy.
In a rare television interview, Jimi Hendrix appeared on a network talk show shortly after his historic performance at the Woodstock Music & Art Fair. When host Dick Cavett asked the guitarist about the “controversy” surrounding his wild, feedback-saturated version of “The Star-Spangled Banner,” Hendrix gently demurred.
Around the world, the arts are being used within communities to address local needs. For such projects to be most effective, program participants must: ensure that their program goals are locally-defined; research which art forms, content, and events might best feed into their program goals; develop artistic products that address their goals; and evaluate these products to ensure their efficacy.
The OUP hire library is a hive of activity running up to Christmas. Months in advance, the hire librarians receive requests for perusal scores of longer Christmas works. From September, hundreds orders for carols flood in – sometimes up to 15 carols in one order!
Forty years ago, Brian Eno released Ambient 1: Music for Airports and Virgin-EMI has just given it a deluxe vinyl re-issue. The first work to formally identify itself as “ambient,” it garnered modest attention and a bit of derision; Rolling Stone referred to it as “aesthetic white noise.”
The entrance of the United States into World War I on April 6, 1917 inspired a flood of new music from popular songwriters. Simultaneously, the first recording of instrumental jazz was released in April 1917, touching off a fad for the new style and inspiring record companies to promote other artists before year’s end.
I joined King’s College Choir as a boy treble in 1964. This was a time of real energy in the media, recording and concert world, and this possibly brought a different kind of perspective to David’s work with the choir. There were a number of firsts for the choir around this time.
Paul Brown is best known for his work as an artist creating visual art that uses self-generating computational processes. Yet before Paul started creating art with computers, he worked with Nova Express, one of the main psychedelic light shows performing in Manchester and the North of England during the 1960s and early 1970s.
The entrance of the United States into World War I on April 6, 1917 inspired a flood of new music from popular songwriters. Simultaneously, the first recording of instrumental jazz was released in April 1917, touching off a fad for the new style and inspiring record companies to promote other artists before year’s end.
As we celebrate the golden anniversary of the Civil Rights Act of 1964, a significant aspect of the struggle for racial equality often gets ignored: racial activism in performance. Actors, singers, and dancers mobilized over the decades, pushing back against racial restrictions that shifted over time, and On the Town of 1944 marked an auspicious but little-recognized moment in that history.
For many people, the celebration of the Advent-Christmas-Epiphany season begins as they wind their way through St. Olaf College’s buildings during the first weekend of December to attend the annual St. Olaf Christmas Festival.
Music can intensify moments of elation and moments of despair. It can connect people and it can divide them. The prospect of psychologists turning their lens on music might give a person the heebie-jeebies, however, conjuring up an image of humorless people in white lab coats manipulating sequences of beeps and boops to make grand pronouncements about human musicality.
The year was 1968 and I was a young postgraduate music student walking down King’s Parade in Cambridge when I saw the revered figure of David Willcocks, director of King’s College Choir, striding towards me. He had rock-star status in Cambridge and beyond, and although I knew him from his weekly harmony and counterpoint classes which I had attended, I wasn’t quite sure whether to nod politely, say ‘good afternoon, Mr Willcocks’, or hurry past hoping he hadn’t noticed me. Fortunately he spoke first.
Detroit is known as the birthplace of Motown Records, but there’s more to the musical history of the city than just that, due to the key role of the public schools in music training, the impact on music of the auto companies and the media, and the huge variety of ethnic music-making across Detroit’s 139 square miles.