Playwright, composer, actor, director, and producer George M. Cohan looms large in musical theater legend. Remembered today for classic tunes like "You're a Grand Old Flag" and "Give My Regards to Broadway," he has been called "the father of musical comedy," and his statue stands in the heart of the New York theater district. Cohan's early twentieth-century shows and songs captured the spirit of an era when staggering social change gave new urgency to efforts to define Americanism. He was an Irish American who had the audacity to represent himself as the Yankee Doodle emblem of the nation, a vaudevillian who had the nerve to unapologetically climb the ranks and package his lower-brow style as Broadway. In Yankee Doodle Dandy, the first book on Cohan in fifty years, author Elizabeth T. Craft situates Cohan as a central figure of his day. Examining his multifaceted contributions and the various sociocultural identities he came to embody, Craft shows how Cohan and his works indelibly shap
Music is a tremendously powerful channel through which people develop their personal and social identities. Music is used to communicate emotions, thoughts, political statements, social relationships
Music is a tremendously powerful channel through which people develop their personal and social identities. Music is used to communicate emotions, thoughts, political statements, social relationships,
The interdisciplinary essays gathered in this volume explore how music audiences and markets are imagined in a globalized scenario, how music reflects and reflects upon new understandings of citizensh
Anyone who has seen the film Casablanca knows that one of its defining moments is when the French exiles begin to sing La Marseillaise in defiance of the Nazi officers singing of German songs. Music c
This book focuses on the relationship between identity and music in Europe from different angles. It takes two basic categories into account: identities in music and music in identities. The authors p
Small Musical Worlds in the Mediterranean is a pioneering book-length study of the complex topics of identity, ethnicity and global processes in childrena€?s musical lives in the Republic of Cyprus -
By exploring the many different types and forms of contemporary musical instruments, this book contributes to a better understanding of the conditions of instrumentality in the 21st century. Providing
Issues of identity have always been central to the American musical in all its guises. Who appears in musicals, who or what they are meant to represent, and how, over time, those representations have
Heavy Metal Youth Identities critically examines the significance of heavy metal music and culture in the everyday lives of metal youth. Historically, young metal fans have been portrayed in popular a
Musical community is a notion commonly evoked in situations of intensive collective activity and fervent negotiation of identities. Passion Square shows, the daily singing of Chinese pop classics in parks and on street corners in the city of Wuhan, have an ambivalent relationship with these ideas. They inspire modest outward signs of engagement and are guided by apparently individualistic concerns; singers are primarily motivated by making a living through the relationships they build with patrons, and reflection on group belonging is of lesser concern. How do these orientations help complicate the foundations of typical musical community discourses? This Element addresses community as a quality rather than as an entity to which people belong, exploring its ebbs and flows as associations between people, other bodies and the wider street music environment intersect with its various theoretical implications. A de-idealised picture of musical community better acknowledges the complexities
Drawn from papers presented at the International Musicological Conference Musical Romania and Neighbouring Cultures: Traditions, Influences, Identities, which was held in Iai, Romania, in July 2013, t
This volume explores the way in which composers, performers, and critics shaped individual and collective identities in music from Europe and the United States from the 1860s to the 1950s. Selected es
Music of the bars and clubs of Austin, Texas has long been recognized as defining one of a dozen or more musical "scenes" across the country. In Dissonant Identities, Barry Shank, himself a musician
Sounding Authentic considers the intersecting influences of nationalism, modernism, and technological innovation on representations of ethnic and national identities in twentieth-century art music. A
Musical identity raises complex, multifarious, and fascinating questions. Discussions in this new study consider how individuals construct their musical identities in relation to their ex
