Oxford University Press's
Academic Insights for the Thinking World
By Alex Sayf Cummings
Is there such a thing as a “used” MP3?
That was the question before the United States District Court for Southern New York earlier this Spring, when Capitol Records sued the tech firm ReDigi for providing consumers with an online marketplace to “sell” their unwanted audio files to other music fans.
The 20th of June is International Surfing Day. I’m not sure if I have the proper street cred to write about surfing. For one thing, even though I grew up on the Mid-Atlantic coast, I can’t swim. My nephew, however, was part of a hardcore crowd who surfed regularly on the beaches near Ocean City, Maryland, and the Indian River Inlet, Delaware, in the ‘80s and ‘90s.
Writing about the perceptions and contexts for music from the Haná region in Moravia in the most recent volume of Early Music got me thinking more broadly about the subject of ‘folk music’ or rustic music of various types, and the emphasis and value frequently placed upon it in the context of art music.
Curated from the pages of Assimilate: A Critical History of Industrial Music, this playlist spans over 30 years, offering a chronological tour of industrial music. From its politically charged beginnings in noisy performance art and process-based tape meddling, it moved into 1980s flirtations with rock to its more recent aggressive, synth-driven goth-tinged dance stylings.
By Anna-Lise Santella
On 12 June, summer officially begins in Chicago when the Grant Park Music Festival, “the nation’s only free, outdoor classical music series of its kind,” opens its 79th season at the Jay Pritzker Pavilion in Millennium Park. I’m a huge fan of summer music festivals in general — what’s not to like about spending a beautiful night in a beautiful place listening to music I love performed by some of the best musicians in the world? — but of Grant Park in particular.
By Saartje Vanden Borre and Elien Declercq
1883. In Tourcoing, a French industrial town right on the border with Belgium, the local celebrity and writer of Flemish origin Jules Watteeuw published Le marchand d’oches for the first time. His song about a Flemish rag-and-bone man who had migrated to Northern France to make a living but kept dreaming about his hometown as the Garden of Eden, was a huge success.
By Liz Wollman
Young Charlie Price (Stark Sands) of Northampton, England, has just unwillingly inherited his family’s struggling shoe factory. His girlfriend wants him to sell it to a condominium developer and move to London, where they can live a properly upwardly mobile life. Torn between his family obligations and his desire to do something other than run a shoe factory, Charlie meets a drag queen named Lola (born Simon; played by Billy Porter), who happens to break a heel and mention that he would do anything for a better-made pair of fabulous boots to wear during drag performances.
By Liz Wollman
The Tony Awards is consistently the lowest-rated broadcast of all televised entertainment awards shows, which helps explain why it is also the most awesome. I’m not being snide, here—either about the teeny spectatorship or about the awesomeness. As to the former point, here’s some perspective: The 2012 Academy Awards ceremony was watched by 39.3 million people, while the 2012 Tony Awards ceremony was watched by six million people.
Sunday 2 June marks the 60th anniversary of the coronation of Queen Elizabeth II at Westminster Abbey in London. It also therefore follows that it is the anniversary of the works which were first performed at the coronation, including William Walton’s Orb and Sceptre March and Coronation Te Deum, and Ralph Vaughan Williams’s O taste and see and Old Hundredth Psalm Tune (All people that on earth do dwell).
By Philip V. Bohlman and Dafni Tragaki
In the spirit of the Eurovision Song Contest motto for 2013 “We Are One,” we seek the common space afforded by dialogic reflections on the European unity that has inspired and eluded the Eurovision since 1956. We search to rescue stretto from the fragments of the largest and most spectacular popular-music competition in the world.
100 years ago, the world was shocked by, of all things, a ballet. Le Sacre du printemps (Rite of Spring), choreographed by Vaslav Nijinsky and composed by Igor Stravinsky, caused a riot when it was first performed at the Théâtre des Champs-Élysées in Paris on 29 May 1913. Stravinsky’s composition was revolutionary; it introduced dissonance in classical music.
Aaron Minsky is an award-winning composer who has made it his mission to persuade us that bowed stringed instruments (especially the cello) can be extremely effective in popular music. He began his career as a rock guitarist and then went on to study the cello with the finest classical teachers from The Juilliard School and other prestigious establishments. He has performed his works with orchestras around the world and on radio and television.
By Simon Wright
The issue and performance of previously unpublished musical works — juvenilia, early pieces, and even completions by others of music left by composers, for one reason or another, incomplete — always provokes interesting debate. Would the composer have wanted it? Does the newly presented work serve the best interests of the composer’s reputation? Does the music throw new (or even controversial) light on ‘the life and works’?
The centenary of the 29 May 1913 premiere of Igor Stravinsky’s The Rite of Spring is being celebrated by numerous orchestras and ballet companies this year, which is always worth mentioning when that first performance incited a riot. The ballet (also performed as an orchestra piece) depicts a collection of pagan spring rituals involving fortune telling, holy processions, and culminating in l’élue (the elected one) dancing herself to death.
Audi now employs two generations of Spocks as spokesmen and Axe body spray hawks a space voyage sweepstakes to hormonal jocks with the promise that chicks dig astronauts. Tired of ninjas, pirates, robots, and zombies, edgy advertisers appear to have set their fad-hungry gaze on space as the current (if not final) frontier of Awesome—the somewhat-undefinable quality that high-fives our inner ten year-old.
By Annie Leyman
Love it or hate it, you can’t deny that the Eurovision Song Contest has a unique appeal. Although often seen as tacky, extravagant and occasionally politically controversial, that doesn’t stop around 125 million people around the world watching it each year! It has helped to launch careers, in the cases of ABBA and Bucks Fizz, as well as destroy them (cast your memories back to Jemini, aka ‘nul points’).