Based on a study of Madrid (1850-1930), Discordant Notes argues that sound, noise, street music and flamenco have played a key role in structuring the transition to modernity by helping to negotiate social attitudes and legal responses to fundamental problems such as poverty, insalubrity, and crime.
Based on a study of Madrid (1850-1930), Discordant Notes argues that sound, noise, street music and flamenco have played a key role in structuring the transition to modernity by helping to negotiate social attitudes and legal responses to fundamental problems such as poverty, insalubrity, and crime.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Samuel Llano is a Lecturer (Assistant Professor) in Spanish Cultural Studies at the University of Manchester. He specialises in the music of nineteenth and twentieth century Spain, urban studies and transnationalism. His first book, Whose Spain?: Negotiating 'Spanish Music' in Paris, 1908-1929 (OUP, 2012) received the Robert M. Stevenson Award of the American Musicological Society for outstanding scholarship in Iberian and Latin American music.
Inhaltsangabe
List of Figures iii Acknowledgements v Introduction 1 Part I: Flamenquismo, Race and Social Disorder 16 Chapter 1: The Rise of flamenquismo in Madrid, 1888-1898 22 Chapter 2: Flamenquismo and Race 40 Chapter 3: Flamenco, Flamenquismo and Social Control 63 Chapter 4: Anti-Flamenquismo and Mass Entertainment: Eugenio Noel 90 Chapter 5: Madrid, Cante Jondo, and Nostalgia 106 Part II: Organ grinders, "Aural Hygiene" and Space 135 Chapter 6: A Public Nuisance 144 Chapter 7: Early Debates 165 Chapter 8: The Persecution of Organilleros 180 Chapter 9: A New Order? 192 Chapter 10: The Demise and Enshrining of Organilleros 214 Part III: Workhouse Bands, Confinement and Social Aid 227 Chapter 11: Confinement, Mendicancy, and the Making of the Street Musician 232 Chapter 12: Inside the Workhouse: A Soundtrack of Discipline 252 Chapter 13: Conquering the Public Space 270 Chapter 14: The Band and Social Disorder 286 Conclusion 304 Bibliography
List of Figures iii Acknowledgements v Introduction 1 Part I: Flamenquismo, Race and Social Disorder 16 Chapter 1: The Rise of flamenquismo in Madrid, 1888-1898 22 Chapter 2: Flamenquismo and Race 40 Chapter 3: Flamenco, Flamenquismo and Social Control 63 Chapter 4: Anti-Flamenquismo and Mass Entertainment: Eugenio Noel 90 Chapter 5: Madrid, Cante Jondo, and Nostalgia 106 Part II: Organ grinders, "Aural Hygiene" and Space 135 Chapter 6: A Public Nuisance 144 Chapter 7: Early Debates 165 Chapter 8: The Persecution of Organilleros 180 Chapter 9: A New Order? 192 Chapter 10: The Demise and Enshrining of Organilleros 214 Part III: Workhouse Bands, Confinement and Social Aid 227 Chapter 11: Confinement, Mendicancy, and the Making of the Street Musician 232 Chapter 12: Inside the Workhouse: A Soundtrack of Discipline 252 Chapter 13: Conquering the Public Space 270 Chapter 14: The Band and Social Disorder 286 Conclusion 304 Bibliography
Es gelten unsere Allgemeinen Geschäftsbedingungen: www.buecher.de/agb
Impressum
www.buecher.de ist ein Internetauftritt der buecher.de internetstores GmbH
Geschäftsführung: Monica Sawhney | Roland Kölbl | Günter Hilger
Sitz der Gesellschaft: Batheyer Straße 115 - 117, 58099 Hagen
Postanschrift: Bürgermeister-Wegele-Str. 12, 86167 Augsburg
Amtsgericht Hagen HRB 13257
Steuernummer: 321/5800/1497
USt-IdNr: DE450055826