Country music superstar Dolly Parton’s Dollywood is a 150-acre fantasyland that hosts three million people a year. What does it tell us about the modern South, and in turn what does that tell us about America as a whole? Hoppe blends tourism, public history, and personal reflection into an unforgettable interrogation of Southern American identity.
Scholarship on the musical traditions of Indonesia has long focused on practices from Java and Bali, including famed gamelan traditions, at the expense of the wide diversity of other musical forms within the archipelago. Jennifer A. Fraser counters this tendency by exploring a little-known gong tradition from Sumatra called talempong, long associated with people who identify themselves as Minangkabau.
Stories from the Anne Grimes Collection of American Folk Music is a treasury of American traditional music and Ohio’s folklife heritage. Traveling along the highways and byways of Ohio in the 1950s as a folksinger and collector of traditional music, Anne Grimes encountered people from many different backgrounds who opened up their homes to her to share their most precious family heirlooms—their songs.
Intonations tells the story of how Angola’s urban residents in the late colonial period (roughly 1945–74) used music to talk back to their colonial oppressors and, more importantly, to define what it meant to be Angolan and what they hoped to gain from independence. A compilation of Angolan music is included in CD format. Marissa J. Moorman presents a social and cultural history of the relationship between Angolan culture and politics.
For centuries, distinguished writers have taken on the challenge of describing great music and its significance in their lives. From Joseph Addison to Virgil Thomson, writers in and out of the music field have used their most vivid language to conjure the sounds and emotions of the music that mattered most to them. Yet until this book, no single volume has ever collected the best of this writing in one place.
In these studies Roman Ingarden investigates the nature and mode of being of four kinds of art works: the musical work, the picture, the architectural work, and the film. He establishes that the work of art is a purely intentional object but considers also its connections to the real world. By analyzing a work of art in its “constitutive heterogeneous strata,” Ingarden demonstrates that a work of art will reveal, when examined in the appropriate way, its own inherent structure.
One of the most controversial aspects of Javanese gamelan music is its musical mode, pathet. From her experience as a performer of sindhenan, or female singing, Walton analyses the melodies and defines the basic laws of mode for sindhenan. She explains more convincingly than previous authors how two systems of mode operate simultaneously in gamelan music to enhance its aesthetic appeal.
In Decadent Style, John Reed defines “decadent art” broadly enough to encompass literature, music, and the visual arts and precisely enough to examine individual works in detail. Reed focuses on the essential characteristics of this style and distinguishes it from non–esthetic categories of “decadent artists” and “decadent themes.” Like the natural sciences and psychology, the arts in the late nineteenth century reflect an interest in the process of atomization.
Today, more than a century after its first performance, Richard Wagner’s The Ring of Nibelung endures as one of the most significant artistic creations in the history of opera. This monumental work not only altered previously accepted concepts of music and drama but also inspired creative and intellectual efforts far beyond the field of opera. Previous studies of the Ring have appealed only to those already acquainted in some way with the Wagnerian art.