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The invisible artist: Arrangers in popular music (1950-2000): Their contribution and techniques
This thesis was submitted for the degree of Doctor of Philosophy and was awarded by Brunel University.This thesis is based on the research conducted by the author for the series,
Richard Niles' History of Pop Arranging, seven thirty-minute documentary
programmes for BBC Radio 2, researched, written and presented by the author and
broadcast in 2003. It also draws on interviews conducted by the author (and other
research) between 2002 and 2007 both for the radio series and for this thesis and on
the author's experience as a professional arranger in popular music working with
many of the genre's significant recording artists including Paul McCartney, Ray
Charles, Cher, Tina Turner, Westlife, Tears For Fears, Dusty Springfield, James
Brown, Pet Shop Boys, Kylie Minogue and producers including Trevor Hom, Steve
Lipson, Steve Mac and Steve Anderson.
It will be argued that the role of the arranger in popular music has often been
undervalued and that during a critical period of popular music history (1950-2000)
arrangers played a significant part in the evolution of musical content. This thesis is,
to the best of the author's knowledge, the first time (apart from the above mentioned
documentary) the subject has ever been examined. The arranger is "invisible" because musical arrangers are often un-credited on
record liner notes or in books or articles concerning popular music. A considerable
amount of research has been necessary to determine who wrote many of the
arrangements considered herein. Motown's Berry Gordy purposely kept the names of
musicians and arrangers off the records because he feared others might 'poach' the
trademark 'Motown Sound'. Other record labels considered the job of the arranger to
be reminiscent of an earlier era, diluting the Rock 'n' Roll image of emotion and
spontanaeity they wished to promote. Some producers and recording artists disliked
sharing credit for their work. Motown arranger David Van dePitte told the author that
arranging was "thankless and anonymous - a very service-oriented profession where
others often take credit for what you've done." Arranging has therefore remained an
intrinsically unseen art created by 'invisible' artists. By analyzing many recordings,
revealing the techniques and concepts they have used in their work to create popular
records, arrangers and their art will be made more 'visible'
Putting Chinese natural knowledge to work in an eighteenth-century Swiss canton: the case of Dr Laurent Garcin
Symposium: S048 - Putting Chinese natural knowledge to work in the long eighteenth centuryThis paper takes as a case study the experience of the eighteenth-century Swiss physician, Laurent Garcin (1683-1752), with Chinese medical and pharmacological knowledge. A Neuchâtel bourgeois of Huguenot origin, who studied in Leiden with Hermann Boerhaave, Garcin spent nine years (1720-1729) in South and Southeast Asia as a surgeon in the service of the Dutch East India Company. Upon his return to Neuchâtel in 1739 he became primus inter pares in the small local community of physician-botanists, introducing them to the artificial sexual system of classification. He practiced medicine, incorporating treatments acquired during his travels. taught botany, collected rare plants for major botanical gardens, and contributed to the Journal Helvetique on a range of topics; he was elected a Fellow of the Royal Society of London, where two of his papers were read in translation and published in the Philosophical Transactions; one of these concerned the mangosteen (Garcinia mangostana), leading Linnaeus to name the genus Garcinia after Garcin. He was likewise consulted as an expert on the East Indies, exotic flora, and medicines, and contributed to important publications on these topics.
During his time with the Dutch East India Company Garcin encountered Chinese medical practitioners whose work he evaluated favourably as being on a par with that of the Brahmin physicians, whom he particularly esteemed. Yet Garcin never went to China, basing his entire experience of Chinese medical practice on what he witnessed in the Chinese diaspora in Southeast Asia (the ‘East Indies’). This case demonstrates that there were myriad routes to Europeans developing an understanding of Chinese natural knowledge; the Chinese diaspora also afforded a valuable opportunity for comparisons of its knowledge and practice with other non-European bodies of medical and natural (e.g. pharmacological) knowledge.postprin