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New PDF release: Bodies of Sound: Studies Across Popular Music and Dance

By Susan C. Cook, Sherril Dodds

ISBN-10: 1409445178

ISBN-13: 9781409445173

From the ragtime one-step of the early 20th century to the modern practices of adlescent membership cultures, well known dance and track are inextricably associated. This assortment unearths the intimate connections among the corporeal and the sonic within the production, transmission and reception of renowned dance and tune, that's imagined the following as 'bodies of sound'. the quantity provokes a wide-ranging, interdisciplinary dialog that comes with scholarship from Asia, Europe and the USA, which explores themes from the 19th century via to the current day and engages with practices at neighborhood, nationwide and transnational levels.In half I: developing the preferred, the authors discover how different types of renowned track and dance are developed and de-stabilized, and their proclivity to suitable and re-imagine cultural kinds and meanings. partly II: Authenticity, Revival and Reinvention, the authors research how well known types produce and control identities and meanings via their allure to and departure from cultural traditions. partly III: (Re)Framing price, the authors interrogate how values are inscribed, silenced, rearticulated and capitalized via renowned tune and dance. And partly IV: Politics of the preferred, the authors learn the preferred as a domain of political negotiation and transformation.

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Additional info for Bodies of Sound: Studies Across Popular Music and Dance

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The political connotations of the early cancan were revived in the fin de siècle as a symbol of the cross-class alliances that would cement the French Third Republic. Oller and Zidler reconceived the cancan’s popularity as a revolutionary energy that could be harnessed for commercial purposes, while artists and critics recognized its potential as a national symbol. The release of the film Moulin Rouge! in 2001 reactivated the nineteenth-century connotations of the cancan in a new context of the global circulation of popular music and dance through mass digital media.

671; Auguste Luchet, ‘La Descente de la Courtille en 1833’, Paris, ou Le livre des cent-et-un (Brussels, 1833), p. 42. ), Mélanges de Linguistique Française Offerts à M. Charles Bruneau (Geneva, 1954), p. 178. 15 Un Vilain Masque, Physiologie, pp. 79-80. 16 Luchet, ‘La Descente de la Courtille’, p. 42. 17 Marion Winter, The Theatre of Marvels (London, 1962); Lisa C. ), Rethinking the Sylph: New Perspectives on the Romantic Ballet (Hanover, 1997). 1 Bodies of Sound Illustrations by Quillenbois (Charles Marie de Sarcus) published in Le Conservatoire de la Danse Moderne (1845).

The political connotations of the early cancan were revived in the fin de siècle as a symbol of the cross-class alliances that would cement the French Third Republic. Oller and Zidler reconceived the cancan’s popularity as a revolutionary energy that could be harnessed for commercial purposes, while artists and critics recognized its potential as a national symbol. The release of the film Moulin Rouge! in 2001 reactivated the nineteenth-century connotations of the cancan in a new context of the global circulation of popular music and dance through mass digital media.

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Bodies of Sound: Studies Across Popular Music and Dance by Susan C. Cook, Sherril Dodds


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