Everyday reveries: recorded music, memory & emotion

This thesis investigates recorded music in everyday life and its relationship to memory. It does this by establishing the social and historical context in which sound recording was invented and developed, and by formulating a theory of how recorded music signifies. It argues that musical recordings do not simply facilitate remembering but are equally bound up with processes of forgetting. Each chapter of the thesis examines a different aspect of the relationship between recorded music and memory. Chapter one analyses the origins of sound recording and charts its subsequent development in terms of a continuum between social and solitary listening. Chapter two interrogates common assumptions about what is meant by the ‘everyday’, and argues that music in everyday life tends to be consumed and remembered in fragmentary form. Chapter three investigates the significance of, and reasons for, involuntary musical memories. Chapter four analyses the relationship between recorded music and nostalgia. Chapter five examines recorded music’s role in pleasurable forms of forgetting or self-oblivion. Chapter six is a summation of the whole thesis, arguing that recorded music in everyday life contains utopian traces which, when reflected upon, yield insights into the nature of social reality. The thesis also contains two ‘interludes’ that deal with pertinent theoretical issues in the field of cultural studies. The first of these interludes argues that Peircean semiotics is better suited to the task of analysing music than Saussurean semiology and that, furthermore, it is able to contribute to the emerging field of affect theory. The second interlude continues this analysis by arguing that mimesis or creative imitation should become a key concept in cultural studies

Verdi in Victorian London

"Now a byword for beauty, Verdi’s operas were far from universally acclaimed when they reached London in the second half of the nineteenth century. Why did some critics react so harshly? Who were they and what biases and prejudices animated them? When did their antagonistic attitude change? And why did opera managers continue to produce Verdi’s operas, in spite of their alleged worthlessness? Massimo Zicari’s Verdi in Victorian London reconstructs the reception of Verdi’s operas in London from 1844, when a first critical account was published in the pages of The Athenaeum, to 1901, when Verdi’s death received extensive tribute in The Musical Times. In the 1840s, certain London journalists were positively hostile towards the most talked-about representative of Italian opera, only to change their tune in the years to come. The supercilious critic of The Athenaeum, Henry Fothergill Chorley, declared that Verdi’s melodies were worn, hackneyed and meaningless, his harmonies and progressions crude, his orchestration noisy. The scribes of The Times, The Musical World, The Illustrated London News, and The Musical Times all contributed to the critical hubbub. Yet by the 1850s, Victorian critics, however grudging, could neither deny nor ignore the popularity of Verdi’s operas. Over the final three decades of the nineteenth century, moreover, London’s musical milieu underwent changes of great magnitude, shifting the manner in which Verdi was conceptualized and making room for the powerful influence of Wagner. Nostalgic commentators began to lament the sad state of the Land of Song, referring to the now departed ""palmy days of Italian opera."" Zicari charts this entire cultural constellation. Verdi in Victorian London is required reading for both academics and opera aficionados. Music specialists will value a historical reconstruction that stems from a large body of first-hand source material, while Verdi lovers and Italian opera addicts will enjoy vivid analysis free from technical jargon. For students, scholars and plain readers alike, this book is an illuminating addition to the study of music reception.

'Exarcheia doesn't exist': Authenticity, Resistance and Archival Politics in Athens

My thesis investigates the ways people, materialities and urban spaces interact to form affective ecologies and produce historicity. It focuses on the neighbourhood of Exarcheia, Athens’ contested political topography par excellence, known for its production of radical politics of discontent and resistance to state oppression and eoliberal capitalism. Embracing Exarcheia’s controversial status within Greek vernacular, media and state discourses, this thesis aims to unpick the neighbourhoods’ socio-spatial assemblage imbued with affect and formed through the numerous (mis)understandings and (mis)interpretations rooted in its turbulent political history. Drawing on theory on urban spaces, affect, hauntology and archival politics, I argue for Exarcheia as an unwavering archival space composed of affective chronotopes – (in)tangible loci that defy space and temporality. I posit that the interwoven narratives and materialities emerging in my fieldwork are persistently – and perhaps obsessively – reiterating themselves and remaining imprinted on the neighbourhood’s landscape as an incessant reminder of violent histories that the state often seeks to erase and forget. Through this analysis, I contribute to understandings of place as a primary ethnographic ‘object’ and the ways in which place forms complex interactions and relationships with social actors, shapes their subjectivities, retains and bestows their memories and senses of historicity

'I'D RATHER HAVE MUSIC!': the effects of live and recorded music for people with dementia living in care homes, and their carers

The objectives of this thesis were to explore the effects of receptive individualised live and recorded-music on interactions within participating dyads consisting of a person with dementia who was in their final phase of life (resident), and a person with whom he or she shared a close connection (carer), as well as on each individual participant. A 'Receptive' music intervention is one where participants are not required to do anything but listen. METHODS The conceptual frameworks of realist evaluation, ethnography, symbolic interactionism, and dramaturgical actionism influenced the design of this study. There were two phases: during phase-1, fifteen semi-structured interviews were conducted with 'key-consultants', who were specialists in topics related to this thesis, to inform the design of 'phase-2'. During 'phase-2', musical interventions were conducted at five non-NHS care homes in Scotland over a period of nine-months. Each intervention consisted of either individualised live-music (3 sessions) or the same or similar music pre-recorded (three sessions); all music was played by the researcher on the solo cello. Interventions took place in residents' private bedrooms, and lasted between fifteen and seventy-minutes. The order of live and recorded-music interventions was switched for approximately half the dyads. Each intervention was video-recorded for later observation. Semi-structured interviews and Visual Analogue Scales (VAS) were administered with each participating carer before and after the conclusion of their series of interventions, to compare their expectations with their actual experiences and to better understand their experience. Whenever possible, key-staff and managers were also interviewed to learn what their perceptions of this study had been: its effects on them and on participants. ANALYSIS required repeated visits to the raw data: beginning with thickly-describing all video-footage; then thematically coding all thick-descriptions and transcribed audio-interviews; and lastly revisiting all video-footage via a self-modified version of an evaluative observation instrument; 'Person Interaction Environment Care Experience in Dementia' (PIECE-dem). FINDINGS support prior research regarding the beneficial effects of individualised receptive music on listeners who have dementia. This study suggests that both live and recorded-music promote wellbeing, and enhance dyad interaction in the moment of listening. These findings demonstrate the potential for receptive music to create an embodied sense of 'haven' for people with dementia who are nearing the end of life and for those sharing the experience with them: by capturing and holding their attention, and transporting them either back in time, or entirely out of time into a state of 'flow', or into an 'intense musical experience'

Michael Costa, England’s First Conductor: The Revolution in Musical Performance in England 1830-80.

Recent literature has thrown new light on the patronage, financing and social context of the music industry in nineteenth-century London. One area that has received less attention is the management and direction of musical performance – a branch of the profession which arguably changed more than any other. The thesis seeks to identify the radical changes in this area through the life and work of Michael Costa. His fifty-three year career in charge of the main London musical institutions saw the transition from divided control by the violin-leader, musical director and maestro al cembalo to unified control by a professional conductor-manager, of which he was the London prototype. Costa’s uniquely powerful position in the operatic, symphonic and choral world enabled him to embed reforms that laid the basis for much of modern musical practice: not only in baton-conducting but also in the conductor’s contractual powers, orchestral discipline, the lay-out of performers, rehearsal strategy, acoustics, and the system for managing the enlarged orchestras and choruses which emerged in the period. This infrastructure and the raised standards of performance that these reforms fostered were arguably the greatest achievement of English music in the otherwise rather barren mid-Victorian period. The thesis considers Costa’s crucial role in the battles between the two rival opera houses, between the Philharmonic and the New Philharmonic, and between the venerable Ancient Concerts and the mass festival events of the Sacred Harmonic Society. It tries also to place him in the context of the profound aesthetic changes of the period – in repertoire, performance and attitude to musical ‘works’. Finally it seeks to explain the remarkable rise and eclipse of Costa’s reputation and to reassess in its contemporary context Costa’s contribution to the emergence of the music industry in the form which we know today

The Artist’s Dilemma: Truth, Process, and Form in the Great War Narratives of Robert Graves, Mary Borden, and David Jones

The Great War narrative has been the subject of wide scholarship but there have been no studies that have specifically focused on understanding the ethical and aesthetic struggles of the artist in war, the artist’s dilemma. The generation that experienced the Great War included many giants of twentieth-century intellectual, cultural, and political life, many of whom wrote personal narratives of their experiences. These narratives have contributed to shaping familial stories and the meta-narratives of nation states for generations—sometimes limiting a fuller understanding of the war. Through this thesis I aim to open the field of narrative investigation into a wider inquiry through applying what Brian Lande identifies as the ‘sensual and moral conversion’ of the soldier in war, to the artistic actor in the theatre of war. The proposition is to identify and read beyond generic conventions, then to observe the process, the tasks, and the moral, psychosocial, and aesthetic dilemmas of the artist in the theatre of war. To do this, the work focuses on three robust texts of the Great War: Robert Graves’s Good-bye to All That (1929), Mary Borden’s The Forbidden Zone (1929), and David Jones’s In Parenthesis (1937). The project explores not only the nuance of creative witness, self-witness, and testimony, but proposes a fuller empathic engagement with the narrative within the social contract of war writing. After developing a model of the formal conventions which structure the genre of war writing, and building on the work of Max Saunders, Henri LeFebvre, and others, I have carried out close readings of the three authors’ Great War narratives and related works. With an interdisciplinary approach that encompasses literary, artistic, historical, ethical, and sociological studies, and with extensive archival research, I propose to introduce another perspective on reading between the lines of Great War narratives. This perspective encompasses the ethical and aesthetic dilemmas that faced the artists of the war generation as they acted and reacted to war, a generation that shaped the intellectual, political, scientific, and artistic life of the twentieth century, and the lives of generations to follow

Doolin: History and Memories

This book is about growing up in Doolin, County Clare, Ireland in the 1940s. It is based heavily on the author’s memories and recollections, reinforced and supported by historical and archival research. Contained herein are a variety of stories and memories, tales and yarns, all documenting a way of life that is now only found in the folklore and historic records of ‘old Ireland’. The selection of episodes and experiences is eclectic, based on memory and reminiscences, chats with friends and family and all is blended with detailed historical investigation. Our overall aspiration is that this book will help to recreate the spirit and character of a time, a place and a people from long ago. Perhaps some of the memories are presented in ‘soft-focus’, but we make no apology for this sentimentality. The recollections from those times are happy ones, where life was simpler, and much less complicated. This book is intentionally situated in what Seamus Ennis described as ‘the old world’ of Darby Griffy, and is dedicated to our ancestors, who were uncomplicated, yet strong people, in tune with the land, their ancestors, their language and their culture. While the overall focus of the book is on daily life in Doolin in the 1940s, the documentary and archaeological history of the area is also explored, with sections detailing the main historical features of the landscape, the important landmarks, and historical events. Particular attention is paid to the quarries and mines, and the early education of the area, which were important influences on daily life in the period under exploration

Comparison of electrophysiological auditory measures in fishes

© Springer International Publishing Switzerland 2016. Sounds provide fishes with important information used to mediate behaviors such as predator avoidance, prey detection, and social communication. How we measure auditory capabilities in fishes, therefore, has crucial implications for interpreting how individual species use acoustic information in their natural habitat. Recent analyses have highlighted differences between behavioral and electrophysiologically determined hearing thresholds, but less is known about how physiological measures at different auditory processing levels compare within a single species. Here we provide one of the first comparisons of auditory threshold curves determined by different recording methods in a single fish species, the soniferous Hawaiian sergeant fish Abudefduf abdominalis, and review past studies on representative fish species with tuning curves determined by different methods. The Hawaiian sergeant is a colonial benthic-spawning damselfish (Pomacentridae) that produces low-frequency, low-intensity sounds associated with reproductive and agonistic behaviors. We compared saccular potentials, auditory evoked potentials (AEP), and single neuron recordings from acoustic nuclei of the hindbrain and midbrain torus semicircularis. We found that hearing thresholds were lowest at low frequencies (~75–300 Hz) for all methods, which matches the spectral components of sounds produced by this species. However, thresholds at best frequency determined via single cell recordings were ~15–25 dB lower than those measured by AEP and saccular potential techniques. While none of these physiological techniques gives us a true measure of the auditory “perceptual” abilities of a naturally behaving fish, this study highlights that different methodologies can reveal similar detectable range of frequencies for a given species, but absolute hearing sensitivity may vary considerably