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4 results

Baroque Music in Post-War Cinema

Baroque Music in Post-War Cinema
  • Performance Practice and Musical Style
  • Donald Greig
  • Published online:
    04 February 2021
    Print publication:
    04 March 2021
  • Studies of pre-existing music in narrative cinema often focus on a single film, composer or director. The approach here adopts a wider perspective, placing a specific musical repertoire - baroque music - in the context of its reception to explore its mobilisation in post-war cinema. It shows how various revivals have shaped musical fashion, and how cinema has drawn on resultant popularity and in turn contributed to it. Close analyses of various films raise issues of baroque musical style and form to question why eighteenth-century music remains an exception to dominant film-music discourses. Account is taken of changing modern performance practice and its manifestation in cinema, particularly in the biopic. This question of the reimagining of baroque repertoire leads to consideration of pastiches and parodies to which cinema has been particularly drawn, and subsequently to the role that neobaroque music has played in more recent films.

  • 7 - Keith Falkner and Rebuilding Institutional Confidence, 1960–1974

  • from Part III - Changing Musical Cultures (1960–1984)
  • David C. H. Wright, Royal College of Music, London
  • Book:
    The Royal College of Music and its Contexts
    Published online:
    26 August 2019
    Print publication:
    05 September 2019, pp 235-285

  • Summary

    Keith Falkner’s invigorating significance for the RCM in the 1960s was no less than Hugh Allen’s had been in the interwar period. Falkner came to the College after a formative time at Cornell University in the United States, whose distinguished music faculty had introduced him to American musicology and early and contemporary musical repertoires. Falkner’s very individual ‘can do’ mindset encouraged him to challenge the RCM Council to raise the money the College needed, while his wide range of personal and musical sympathies made him very approachable to the RCM students. Falkner appreciated the potential of the RCM’s historic collections, while also being aware of the significant benefit of such technological developments as an electronic music studio. Under Falkner, the RCM’s library service was rationalized, and students were encouraged to perform outside the College. Falkner linked the RCM into the Association of European Conservatoires. He increased the range of subjects students could study, to include the guitar and Baroque instruments and the number of brass and woodwind students increased. Falkner took a robust attitude to improving professors’ pay.

  • Part III - Changing Musical Cultures (1960–1984)

  • David C. H. Wright, Royal College of Music, London
  • Book:
    The Royal College of Music and its Contexts
    Published online:
    26 August 2019
    Print publication:
    05 September 2019, pp 233-306

  • Summary

    Keith Falkner’s invigorating significance for the RCM in the 1960s was no less than Hugh Allen’s had been in the interwar period. Falkner came to the College after a formative time at Cornell University in the United States, whose distinguished music faculty had introduced him to American musicology and early and contemporary musical repertoires. Falkner’s very individual ‘can do’ mindset encouraged him to challenge the RCM Council to raise the money the College needed, while his wide range of personal and musical sympathies made him very approachable to the RCM students. Falkner appreciated the potential of the RCM’s historic collections, while also being aware of the significant benefit of such technological developments as an electronic music studio. Under Falkner, the RCM’s library service was rationalized, and students were encouraged to perform outside the College. Falkner linked the RCM into the Association of European Conservatoires. He increased the range of subjects students could study, to include the guitar and Baroque instruments and the number of brass and woodwind students increased. Falkner took a robust attitude to improving professors’ pay.

  • 15 - A story with(out) Gauchos: folk music in the building of the Argentine nation

  • from Part V - Music histories of the folk and the nation
  • Edited by Philip V. Bohlman, University of Chicago
  • Book:
    The Cambridge History of World Music
    Published online:
    05 December 2013
    Print publication:
    12 December 2013, pp 371-394

  • Summary

    This chapter focuses on one central period within the flows across the Atlantic in the pursuit of wealth: the eighteenth-century Brazilian gold rush in the region that came to be known as Minas Gerais, or general mines. The complex hybrid cultural expressions forged within and through the transcontinental flows provide a unique insight into the complexities of the Golden Atlantic and the ways in which music has been deployed to engage with multiple encounters in contexts of intricate power relations. Music was part of everyday life in the mines. According to José Maria Neves, the colonial repertory in Minas employed Baroque, pre-Classical, and Classical elements. In many parts of Minas, a number of different dance associations turn out for the festival of the rosary, and each represents a distinct community, which is enacted through the performance of a distinct and identifiable musical genre.