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Paul Derrick George Hartley

Bio: Paul Derrick George Hartley is an academic researcher. The author has contributed to research in topics: Identity (social science). The author has an hindex of 1, co-authored 1 publications receiving 21 citations.

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Journal ArticleDOI
TL;DR: In this paper, Imagined communities: Reflections on the origin and spread of nationalism are discussed. And the history of European ideas: Vol. 21, No. 5, pp. 721-722.

13,842 citations

Journal ArticleDOI
TL;DR: Sound of Africa! as discussed by the authors is an account of the production of a mbaqanga album in a state-of-the-art recording studio in South Africa during the early 1990s during the transition from apartheid to democratic rule.
Abstract: Boosting the bass guitar, blending the vocals, overdubbing percussion while fretting over shoot-outs in the street, grumbling about a producer, teasing a white engineer, challenging an artist to feel his African beat - "Sound of Africa!" is a riveting account of the production of a mbaqanga album in a state-of-the-art recording studio in Johannesburg. Made popular internationally by Mahlathini and the Mahotella Queens, mbaqanga's distinctive style features a bass solo voice and soaring harmonies of a female frontline over electric guitar, bass, keyboard, and drumset. Louise Meintjes chronicles the recording and mixing of an album by Izintombi Zesimanje, historically the rival group of the Mahotella Queens. Set in the early 1990s during South Africa's tumultuous transition from apartheid to democratic rule, "Sound of Africa!" offers a rare portrait of the music recording process. It tracks the nuanced interplay among South African state controls, the music industry's transnational drive, and the mbaqanga artists' struggles for political, professional, and personal voice. Focusing on the ways artists, producers, and sound engineers collaborate in the studio control room, Meintjes reveals not only how particular mbaqanga sounds are shaped technically, but also how egos and artistic sensibilities and race and ethnicity influence the mix. She analyzes how the turbulent identity politics surrounding Zulu ethnic nationalism impacted mbaqanga artists' decisions in and out of the studio. Conversely, she explores how the global consumption of Afropop and African images fed back into mbaqanga during the recording process. Meintjes is especially attentive to the ways the emotive qualities of timbre (sound quality or tone color) forge complex connections between aesthetic practices and political ideology. Vivid photos by the internationally renowned photographer TJ Lemon further dramatize Meintjes' ethnography.

193 citations

Journal ArticleDOI
TL;DR: Abdel-Lughod as mentioned in this paper discusses the role of television in the politics of TV in Egypt and its role in the 2011 Egyptian revolution. Chicago: University of Chicago Press.
Abstract: Dramas of Nationhood: The Politics of Television in Egypt. Lila Abu-Lughod. Chicago: University of Chicago Press. 2005.

64 citations

Journal Article
TL;DR: Cooke's A History of Film Music as discussed by the authors is a comprehensive and accessible contribution to English-language literature on film music, producing a book that is comprehensive, accessible, and frequently thought-provoking.
Abstract: A History of Film Music. By Mervyn Cooke. Cambridge: Cambridge University Press, 2008. [xxii, 562 p. ISBN 978-0-521-81173-6 (hardback) $120; ISBN 978-0-521-01048-1 (paperback) $24.99] Scholarly interest in film music has grown exponentially in the past twenty-five years. Most universities offer courses on the subject, presentations at academic conferences typically attract packed rooms, and the most august music journals have joined more specialised ones in publishing articles on film music topics. Major university presses and such academic publishers as Ashgate, Boydell, and Routledge have been issuing books exploring national repertoires, various genres and other increasingly specialised aspects of film music. Both Green wood and Scarecrow presses have new book series with each title focusing on an individual film score. Much less common is the single-author book taking a broad view of the subject. Indeed, since Claudia Gorman's landmark Unheard Melodies: Narrative Film Music appeared in 1987 (Indiana University Press), only a handful of such books have been published in English. For many, Roy Prendergast's Film Music: A Neglected Art (W. W. Norton, 2nd edition, 1992) remains a favourite for the range of films covered and the quality of analysis. Newer contenders include Roger Hickman's Reel Music: Exploring 100 Years of Film Music (W. W. Norton, 2005), a substantial volume intended for the non-music major, and Peter Larsen's Film Music (Reaktion, 2007), which is more modest in scope. With A History of Film Music, Mervyn Cooke has made an important and ambitious contribution to English-language literature on film music, producing a book that is comprehensive, accessible, and frequently thought-provoking. The book is arranged chronologically with some well-considered detours. In the first two chapters, Cooke examines the silent era and the early years of sound film. In chapter three, he explores "Hollywood's Golden Age," setting out the context and working methods before focusing on some of the major composers of the period extending from the early 1930s through to the 1950s, including Steiner, Korngold, Waxman, Newman, and Rozsa. He continues this thread in chapter five, on post-war Holly wood, and rounds it off with chapter twelve, on the "New Hollywood." In between, he provides excursions into musical genres: opera and the musical on film (chapter 4), the documentary and animated film (chapter 7); explores the use of popular and Classical music in film (chapters 10 and 11, respectively); and devotes three chapters to national cinema: British (chapter 6), French (chapter 8), and other parts of the world ("Global highlights" in chapter 9). …

61 citations