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Cambridge Companions are a series of authoritative guides, written by leading experts, offering lively, accessible introductions to major writers, artists, philosophers, topics, and periods.
Cambridge Companions are a series of authoritative guides, written by leading experts, offering lively, accessible introductions to major writers, artists, philosophers, topics, and periods.
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In the opening decades of the twenty-first century, the matter of who stays Catholic, and how, has become one of the most important questions in American Catholicism. Research about Catholics going their own way captured the attention of the public in general and Catholic leadership in particular, and focused on the notable drop-off in participation in Catholic ritual life, an increasing political independence of the laity from the wishes of Catholic bishops, a widespread abhorrence at the continuing revelations of clerical sexual abuse and episcopal cover-up, and enduring resistance toward active church involvement from post–Vatican II generations.
This chapter details two types of drumbeats used by drummers when playing irregular-meter grooves based on large repeating spans (ten or more beats or pulses). The types – punctuated and split – differ with regard to the subdivision of the repeating cycle. In punctuated irregular grooves an established meter is interrupted at regular intervals by isolated measures in another meter. In split irregular grooves, the cycle is divided into two or more subsections of approximately balanced lengths. The drums play a critical role in decoding these subdivision patterns. Many irregular-meter drumbeats can be related directly to the familiar common-time backbeat, and the ways that an irregular-meter drumbeat diverges from that regular-meter archetype provide a ready guide for metric analysis. At deeper metric levels, drumming conventions such as fills serve as structural landmarks. The theory of punctuated and split metric structures demonstrates the centrality of drum-kit syntax to the performance, perception, and analysis of metrically irregular rock music.
This chapter examines the role recorded music has to play in representing the drummer in the years spanning acoustic and early electric studios. Through archival research, a detailed look at what made it onto the record will help determine how – for better or worse – recordings have continually influenced generations of drummers that followed. This chapter argues that drummers in particular must be careful in how they treat early recordings that feature early drummers, especially when trying to learn from them, as above all else, early recordings have the most influence on early jazz performance today.
Few New York theatergoers who pass Father Francis Duffy’s statue in Times Square know that the beloved chaplain to New York’s “Fighting 69th” regiment was also a leading turn of the century Catholic intellectual. In 1905, Duffy (1871–1932) and colleagues sought to join “the ancient faith and modern thought” in their new journal, The New York Review, arguably the boldest American expression of Catholic intellectual life of its own or any time.1 He and The Review’s other founders hoped to encourage a homegrown Catholic intellectual culture among the nation’s growing body of upwardly mobile Catholics.
Between the first decades of the nineteenth century and the dawn of the twentieth, the numbers of US Catholics grew from 200,000 to more than 14 million. This growth was made possible by an increasing birth rate but also successive waves of immigration, predominantly from Europe. During this era, US Catholics developed a dense network of imposing and influential institutions: cathedrals (some of surpassing architectural elegance), parish churches, and various types of schools, orphanages, hospitals, convents, monasteries, and seminaries. Even in places where Catholics were a minority or whose Catholic populations grew slowly, Catholic enclaves often flourished.
The drum kit is one of the most explicitly gendered instruments in Western popular music, while drumming culture continues to be male-dominated. Despite the visibility of drummers like Anika Nilles, Taylor Gordon, and Sarah Thawer, women and gender non-conforming drummers remain underrepresented at both amateur and professional levels. This is slowly changing in the digital age, as social media platforms like Instagram provide opportunities for drummers from underrepresented groups to form online communities, make themselves visible, and participate in popular discussions regarding the instrument, musical performance, and gender politics. Nowhere is this more apparent than on ‘Drumming Instagram’, where women and gender non-conforming drummers can connect, learn, and find inspiration from each other. Although social media can enhance the visibility of underrepresented percussionists, is Instagram a space where emancipatory feminist politics can emerge? We answer this question by conducting a content analysis of user comments (n=3,370) from three Instagram accounts dedicated to promoting women drummers: @femaledrummers, @tomtommag, and @hitlikeagirlcontest. Our findings suggest that social media visibility both legitimizes women drummers while rendering them vulnerable to public scrutiny and unwanted attention. Although Drumming Instagram makes it easy for women to be seen, it nevertheless remains challenging for feminists to be heard.
This chapter explores a selection of new nature writing by Robert Macfarlane, Kathleen Jamie, Adam Nicolson, David Gange and Amy Liptrot, which features Scottish islands at the British archipelago’s farthest Atlantic edges. These accounts speak to the cognitive and imaginative challenges of the Anthropocene, bringing deep time and planetary interconnections into view, evoking temporal scales that range from 600 million years in the past to millions of years in the future, oceanic tides that move to the pull of celestial bodies, and animals whose migrations trace lines across the globe. They also enable us to think through more elusive Anthropocene effects – its uncanniness, and the way in which it requires us to imagine ourselves as spectres haunting the deep time of the future. At the same time, these works offer a glimpse of alternative, interim narratives in which we learn to be better ancestors for human generations still to come.
This chapter documents the creation, timeline, and results of the ongoing Hey Drums project. Hey Drums is a collective of female and gender minority drummers and percussionists engaged in community activities around Australia including a blog, print media, and live music events. More than 145 drummers from across the Australian continent have been interviewed on the Hey Drums site since 2016. Hey Drums has grown over this time to include live teaching and performance events for Melbourne Museum’s Nocturnal series, Melbourne Music Week, at the Espy, Testing Grounds Night Markets and the Make it up Club at Bar Open, as well as print media: in Drumscene magazine in Australia and Tom Tom Mag in the United States. All of these activities contribute to raising the profiles of the featured drummers. The initiative has been created by Nat Grant, an independent drummer, percussionist, and composer from Melbourne, Australia.
Describing American Catholic worship demands grappling with the broad expanse of peoples and places that have experienced the Catholic faith between the moment of the first Mass, celebrated by globe-trotting Spanish explorers in 1494, and Mass in the twenty-first century, when the first American-born pope, Francis, assumed leadership of the global church. Yet, American Catholic worship asks that we look at far more than formal ritual experiences such as the Mass, the Divine Office, or the sacraments. For much of American Catholic history, a rich panoply of devotions to Mary, Jesus, the saints, and the Blessed Sacrament played a major, if not central, role in supporting and sustaining Catholic identity on the American continent – a role that would not be challenged until liturgical renewal advocates began to question the relationship of popular piety and formal liturgical prayer in the second quarter of the twentieth century.
When considering the terminus a quo and terminus ad quem for the period of the Apostolic Fathers, we immediately face difficult and debatable decisions regarding the dating of this collection. For a few of these texts, scholarship has settled on a rather narrow range of likely dates. For example, 1 Clement is generally dated in the 90s CE, and the epistles of Ignatius of Antioch are most commonly dated during Trajan’s reign between 98 and 117, though even these have had notable exceptions. On the other hand, over the last several decades some Didache scholars have moved its date of composition from the second century into the late first century; others have settled on an even narrower range of 50–70 CE. Likewise, the Epistle of Barnabas can be reasonably situated either in the years immediately following the First Jewish Revolt (c. 75–80 CE) or those following the Bar Kokhba Revolt (c. 135–140 CE). Also, prominent scholars of the Shepherd of Hermas have imagined its composition or redaction spanning several decades from as early as the 90s to the 140s. And depending on one’s conclusions regarding the unity of Polycarp’s Letter to the Philippians, it could be dated anytime between about 110 to 140. Though a few have ventured to date the Epistle to Diognetus in the early second century, most favor a much later date, perhaps in the late second century. The same is true of the so-called Second Epistle of Clement and the Martyrdom of Polycarp.
In this chapter, I explore the aesthetics of drumming in Americana, focusing particularly on the work of session drummer Jay Bellerose. By attending to the material cultures and various lineages of drumming in the genre – spanning from the blues to country, jazz, rock, and early field recordings – I consider how an underlying aesthetic discourse inflects Americana drum kit performance and reception. Specifically, I outline how discussions about ideal drum tones, ‘less-is-more’ approaches, and preferences for American-made vintage kits signal shared understandings about percussive music making in the genre; highlighting key figures that helped develop recording techniques and drumming conventions.
The contemporary pertinence of green utopianism in its myriad manifestations lies in its trenchant critiques of the ecological deficiencies of the present and its imaginative projections of more ethical modes of human–animal–nature relationality. The extant climate and ecological crisis demands a radical rethink of how we relate to the non-human world. Thus, drawing largely on green utopian and posthuman theory, this chapter features critical assessments of human–non-human relations as depicted in four canonical ecotopian literary texts: Aldous Huxley’s Island (2009), Marge Piercy’s Woman on the Edge of Time (1976), Kim Stanley Robinson’s Pacific Edge (1990) and Ursula K. Le Guin’s Always Coming Home (1985). The extent to which the works deconstruct traditional human/nature dualisms and hierarchies is explored and discussed in depth. The chapter concludes with ruminations on potentially ethical modes of relationship that move beyond hierarchical and antagonistic structurings of ‘otherness’ and incorporate reverence and respect for irreducible alterity.
For a community as diverse as those of Latin American and Caribbean descent living in the United States, finding an appropriate term that encapsulates all of its members is a tremendous challenge. The terms Hispanic or Latino/a are often used interchangeably for this community, yet they do not fully reflect the complicated history of the population. Two additional terms, important to reflections on community identity, include mestizaje and mulatez. Mestizaje refers to the mixing of Spanish and indigenous heritage, while mulatez, the mixing of Spanish and African heritage, which is also part of the Latin American story. Both terms remain contested and have been explored in detail by community theologians such as Virgilio Elizondo, Michelle Gonzalez, Jorge Aquino, Nestor Medina, and Miguel De La Torre. Markers such as race and class play a critical role in understanding the history and intricacy of these terms, too much to tackle in this space. To complicate matters further, many people forgo the terms Hispanic or Latino all together and self-identify by particular nationality, calling themselves “Mexican,” “Puerto Rican,” or “Ecuadorian,” or by variations born in the US context such as “Guatemalan-American,” “Chicana,” or “Nuyorican.”