The Music of Mike Westbrook

ABSTRACT The Music of Mike Westbrook Gary Bayley (Durham, 2013) This dissertation – the first on the life and work of Mike Westbrook – proposes that his unique conception of English modern jazz was inspired by early 1900s New Orleans culture, where live music was contemporary, culturally relevant, and had a social function. Initially intended as art for a new post-World War socialist Britain, his drawing on cultural, social, economic, and political constraints became an artistic credo. The thesis argues (following Fischlin and Heble (2004), Horn (2002), Johnson (2002), and McKay (2005)) that jazz is primarily a cultural activity, not merely a style of music. While Westbrook has claimed that he was simply attempting to combine art and entertainment like Duke Ellington, this dissertation demonstrates how, as a trained painter, his jazz process is informed by Dada and Pop Art as well as by Bertolt Brecht’s Lehrstücke, lending his ensembles a social function as ‘mediating structures’ (Berger 1979). His central ‘brass band’ concept draws on English music-hall, circus and fairground, together with European cabaret, and his tendency towards theatrical performance was reinforced through his creative partnership with Kate Westbrook. The approach taken in this study is twofold: on the one hand field-work and extensive access to archival materials (much of it previously unavailable); and on the other hand cultural and historical interpretation. The thesis argues that Westbrook attempted a cultural revolution in broadening the terms of reference for jazz to construct a peculiarly English, polystylistic multi-media art. Accordingly, this dissertation locates Westbrook’s work in the larger cultural field of English contemporary artistic expression, rather than simply seeking to situate it stylistically within a narrower history of jazz

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Operatic Pasticcios in 18th-Century Europe

In Early Modern times, techniques of assembling, compiling and arranging pre-existing material were part of the established working methods in many arts. In the world of 18th-century opera, such practices ensured that operas could become a commercial success because the substitution or compilation of arias fitting the singer's abilities proved the best recipe for fulfilling the expectations of audiences. Known as »pasticcios« since the 18th-century, these operas have long been considered inferior patchwork. The volume collects essays that reconsider the pasticcio, contextualize it, define its preconditions, look at its material aspects and uncover its aesthetical principles

Operatic Pasticcios in 18th-Century Europe: Contexts, Materials and Aesthetics

In Early Modern times, techniques of assembling, compiling and arranging pre-existing material were part of the established working methods in many arts. In the world of 18th-century opera, such practices ensured that operas could become a commercial success because the substitution or compilation of arias fitting the singer's abilities proved the best recipe for fulfilling the expectations of audiences. Known as »pasticcios« since the 18th-century, these operas have long been considered inferior patchwork. The volume collects essays that reconsider the pasticcio, contextualize it, define its preconditions, look at its material aspects and uncover its aesthetical principles

Operatic Pasticcios in 18th-Century Europe

In Early Modern times, techniques of assembling, compiling and arranging pre-existing material were part of the established working methods in many arts. In the world of 18th-century opera, such practices ensured that operas could become a commercial success because the substitution or compilation of arias fitting the singer's abilities proved the best recipe for fulfilling the expectations of audiences. Known as »pasticcios« since the 18th-century, these operas have long been considered inferior patchwork. The volume collects essays that reconsider the pasticcio, contextualize it, define its preconditions, look at its material aspects and uncover its aesthetical principles

NASA patent abstracts bibliography: A continuing bibliography. Section 2: Indexes (supplement 43)

A subject index is provided for over 5400 patents and patent applications for the period May 1969 through June 1993. Additional indexes list personal authors, corporate authors, contract numbers, NASA case numbers, U.S. patent class numbers, U.S. patent numbers, and NASA accession numbers

NASA patent abstracts bibliography: A continuing bibliography. Section 2: Indexes (supplement 44)

A subject index is provided for over 5500 patents and patent applications for the period May 1969 through December 1993. Additional indexes list personal authors, corporate authors, contract numbers, NASA case numbers, U.S. patent class numbers, U.S. patent numbers, and NASA accession numbers