Tag Archives: Film

by rilm | December 20, 2025 · 6:00 am

Video dance: New spaces for creativity and engagement

The origins of video dance trace back to the late 19th century, when advancements in technology and science inspired intellectuals and artists to find ways to capture the fleeting nature of human movement. By the 20th century, artists began to view the screen as a lens to reveal endless possibilities for expressing movement. This shift marked a pivotal moment in the arts, leading to the development of hybrid practices where visual and performing arts converged to create innovative performances. As a result, an increasing number of events dedicated to video dance emerged, including the Filmdance Festival at the Public Theater in New York, directed by Amy Greenfield in 1983, and the Eyes wide open performance at the Dance Theatre Workshop in New York, organized by James Byrne in 1989. Choreographer Merce Cunningham also contributed to this emerging field through his collaboration with South Korean artist and videographer Nam June Paik on Merce by Merce (1978), a film regarded as a manifesto of video dance. The field of video dance also transitioned from analog dance filming (dance for camera) to digital choreography, with many artists embracing digital tools as the ideal medium for transforming the experience of movement into choreographic objects.

Today, video dance works represent tools for preserving and transmitting the cultural heritage of dance, with numerous research projects focused on developing innovative transmedia strategies to share the intangible knowledge embodied in dance performances. Video dance festivals play a key role in this process, providing workshops and research environments that foster exploration and discussion. These festivals offer vital spaces for comparing and analyzing different interpretations of video dance, allowing for a deeper understanding of its evolution across various contexts and countries. Prominent platforms dedicated to sharing knowledge and advancing the practice of video dance include IMZ Dance Screen (Austria), Dança em Foco (Rio de Janeiro), MOVES: International Festival of Movement on Screen (Manchester), Dance Camera West (Los Angeles), the International Dance Film Festival (Yokohama), along with many others.

Over the past 30 years, video dance has been integrated into the performing arts in innovative ways, establishing a broad, multidisciplinary field of exploration. It has made significant contributions to various types of expression, including interactive theater performances, dance exhibitions in museum spaces, digital architecture, video mapping installations in urban environments, and even extended reality (XR) and 360° cinema productions. This versatility has allowed video dance to expand the boundaries of artistic performance, offering new spaces for creativity and audience engagement.

This according to the featured article by Letizia Gioia Monda in DEUMM Online.

Installation by James Byrne at the Yerba Buena Center for the Arts in San Francisco.

Jamaica’s first superstar

James Chambers, better known as Jimmy Cliff, one of Jamaica’s most prolific and celebrated performers, and an inductee into the Rock and Roll Hall of Fame, has been hailed as the first true superstar of Jamaican music. As a uniquely gifted singer-songwriter, Cliff was among the earliest artists to bring reggae to a global audience. With more than 25 studio albums to his credit, he was the only living musician to have received the Jamaican government’s Order of Merit for his contributions to national culture. Yet his path to international acclaim was far from straightforward. Born James Chambers in Adelphi, a small, rural town on Jamaica’s north coast near Montego Bay, Cliff’s early life was marked by poverty, controversy, and prejudice.

A mural honoring Jimmy Cliff in Montego Bay, Jamaica.

Following the dissolution of his parents’ marriage, Cliff and his older brother were raised by their father, a Pentecostal Christian, in a modest two-room shack. When Hurricane Charlie destroyed their home in 1951, Cliff was forced to live for a time with his aunt and grandmother on a nearby farm. At Somerton All Age School, his intelligence was quickly recognized by a teacher who recommended that he pursue studies in electronics at Kingston Technical High School. Moving to Jamaica’s capital of Kingston in the late 1950s, Cliff began studying electronics while simultaneously entering talent contests under the stage name Jimmy Cliff.

Cliff’s appearance at the 1964 World’s Fair in New York brought him to the attention of Island Records founder Chris Blackwell, who brought him to London two years later and promoted him as a soul singer, backed by musicians who would later form Mott the Hoople. Even before Bob Marley’s international breakthrough in the 1970s, Cliff introduced Jamaican rocksteady to U.S. audiences through his starring role in the 1972 cult classic film The harder they come. His portrayal of Ivan in the groundbreaking film drew on elements of his own youthful experiences. The film’s soundtrack became a reggae primer for many listeners unfamiliar with the genre, with Cliff contributing four songs, including his enduring You can get it if you really want, which reached number two on the U.K. singles chart; the title track, The harder they come; and the soulful ballad Sitting in limbo.

Promotion poster for *The harder they come* (1972).

Cliff was among the first Jamaican vocalists to relocate to London in pursuit of greater recognition. He also became one of the earliest artists to make a significant impact in South America and Africa, broadening his musical output to reach diverse audiences.

Cover art for *The harder they come* soundtrack.

Cliff was also the first reggae singer to assume a leading role in a feature film (The harder they come) which introduced international audiences to Jamaica’s vibrant musical culture. His distinctive style of reggae, infused with non-Jamaican musical elements, resonated strongly in Africa, leading to performances in Nigeria in 1974 and a subsequent tour of West Africa three years later.

This according to Jimmy Cliff: An unauthorized biography by David Katz (Oxford: Signal Books, 2011; RILM Abstracts of Music Literature 2011-18440).

Jimmy Cliff passed away on 24 November 2025 at the age of 81.

Cliff performs at the Love Supreme Jazz Festival in 2019.

Tin Pan Alley and early film music

From 1918 to 1928, Tin Pan Alley solidified its connection with the film industry. Although early films lacked sound, music played a crucial role in enhancing the viewing experience, often provided live by a pianist in theaters. Charles N. Daniels, writing under the pseudonym Neil Moret, teamed up with lyricist Harry Williams to compose the first commissioned title song for a film. The song, Mickey, was released by Daniels and Wilson in 1918 to coincide with the film’s debut, starring Mabel Normand, whose image was featured on the sheet music cover. Later that year, Mickey was acquired by Waterson, Berlin, and Snyder, who published it in two small editions, helping to launch the trend of title songs that remains popular to this day.

Many famous silent film stars, such as Charlie Chaplin, Mary Pickford, and Pearl White, graced the covers of sheet music as early as 1914. March of the movies by M. A. Althouse (1915) features an illustration of an audience in a nickelodeon, watching Chaplin in his tramp costume, accompanied by a pianist in the pit. Those Keystone comedy cops by Charles McCarron (1915) showcases a classic photo of Mack Sennett’s Keystone cops on the cover, with Ford Sterling on the phone and Roscoe “Fatty” Arbuckle eavesdropping on the conversation. Over the next twenty years, the film industry would become a powerful promoter of songs, with major studios even acquiring some of Tin Pan Alley’s most prominent firms to manage their musical needs.

The composer Ernö Rapée helped popularize the use of thematic music—stock melodies designed to accompany common silent film scenes—through two well-known collections he published in the mid-1920s. Many orchestra leaders in smaller towns and cities relied on these books as a guide to provide music for films. Rapée also composed several original scores, with his most famous being the 1926 What price glory? The theme song from the film, with lyrics by Lew Pollack, became a major hit under the title Charmaine.

Below is a recording of Charmaine performed by David De Groot and The Piccadilly Orchestra in 1927.

The advent of talking pictures made music’s role in film even more crucial. Broadway musicals were a natural fit for adaptation to the new medium, and film studios quickly realized the need to hire composers and lyricists to create both background music and songs for their films. Hit songs also served as excellent promotional tools to attract audiences to theaters, prompting studios to acquire music publishers to profit from their catalogs. Major studios like Warner Bros., MGM, and Paramount became heavily involved in music publishing.

The Great Depression had a significant impact on Broadway, forcing many writers who relied on the numerous revues and shows to turn to Hollywood for work. While some were dissatisfied with how their songs were often treated as mere commodities—added or removed from films at will—others found the medium creatively fulfilling. Over time, unique musical films emerged featuring songs that were just as memorable and well-crafted as the Broadway hits of the Tin Pan Alley era.

This according to Tin Pan Alley: An encyclopedia of the golden age of American song (2012). Find it in RILM Music Encyclopedias.

An example of the early use of music in film from One week featuring Buster Keaton (1920).

Dolly Parton, from country and pop to film

The country singer, songwriter, actor, and businesswoman Dolly Parton was the fourth of twelve children in a family of sharecroppers in Sevierville, Tennessee, located in the Appalachian Mountains. Commenting on her childhood, Parton once said, “Everybody where we grew up had a hard time. We were mountain people. Most people were poor, but we didn’t realize that we were poor until some smart head said so. Everybody around us lived the same way, but you don’t think about that until you’re away. We had good parents, but we didn’t have all the big luxuries that I’m able to afford now. But I wouldn’t trade it for nothing.”

Surrounded by hymns, traditional mountain music, and popular music genres from the 1940s and 1950s, Parton began playing the guitar at a young age. By 10 years old, she was already performing regularly on radio and television shows in Knoxville, Tennessee, hosted by Orton Caswell (Cas Walker). In 1960, Parton traveled to Louisiana to record two rockabilly songs for the Goldband Records label. While still in high school, she performed at local venues, and after graduation, she moved to Nashville, where her uncle, the well-established songwriter Bill Owens, assisted her in finding work and refining her songwriting abilities.

Parton and Porter Wagoner on the set of their 1960s television show.

Parton achieved her first commercial success as a songwriter in Nashville in 1966 when she recorded her debut country record. Country singer Porter Wagoner invited her to become a regular partner on his television show and also produced her solo recordings, helping her establish a moderately successful career. Parton’s major breakthrough came when she recorded a cover of Muleskinner blues, followed by her original song Joshua, which reached number one on the Billboard country charts. In the early 1970s, Parton rose to become one of country music’s biggest female stars, crafting a public image that celebrated her Appalachian roots, such as in the songs The Appalachian trail and Coat of many colors, while also embracing a distinctly female perspective, showcased in songs such as Jolene.

Parton performs I will always love you.

In 1974, Dolly Parton made the bold decision to separate professionally from Porter Wagoner, taking full control of her solo career. This decision proved successful, as she soon achieved a string of number one hits, including her most famous composition, I will always love you (later covered by the pop singer Whitney Houston). By 1977, Parton began embracing a crossover pop sound with songs like Here you come again. A new manager played a key role in facilitating her transition to the larger pop market. Parton also ventured into Hollywood, playing a leading role in the 1980 film 9 to 5, followed by other films like Steel magnolias (1989). Her commercial success continued into the early 1990s, including the acclaimed Trio album with Emmylou Harris and Linda Ronstadt, and Honky tonk angels with Loretta Lynn and Tammy Wynette. In the mid-1990s, Parton shifted her musical style again, returning to more acoustic, bluegrass-inspired sounds reminiscent of her early work. Since the early 2000s, she has continued to release new albums, some of which were produced through her own record label.

Parton has been inducted into both the Country Music Hall of Fame and the Songwriters Hall of Fame. She has also received a National Medal of Arts in 2005 and a Grammy Lifetime Achievement Award in 2011 and is the recipient of over two dozen major country music industry awards.

Read the full free article on Dolly Parton in MGG Online.

Vocality and the Frankenstein complex

A monster’s vocality and capacity for communication have been complicated themes since the earliest adaptations of the novel. The evolution of the monster’s speech, along with the dynamics of its silence, reveals how essential vocality is to forming a sympathetic portrayal of the character. Each new version highlights this relationship, demonstrating that even in adaptations where the monster’s voice is largely absent, vocality remains crucial to shaping audience empathy.

This dynamic mirrors what performance theorist Marvin Carlson describes as “ghosting”, a phenomenon where theater productions are infused with multiple layers of history. This creates interpretations linked to the audience’s memories of the written text, the performers, props, and even the performance space. In the case of Mary Shelley’s Frankenstein, these layers are even more complex and elusive, reflecting its extensive and varied influence over the two centuries since the novel’s publication.

Within this context, the monster is frequently depicted as dim-witted and inarticulate, if not entirely silent. Restoring the creature’s voice–along with the eloquence and insight it can convey–highlights an often-overlooked aspect of Shelley’s novel, particularly in relation to the pop culture narrative surrounding the “Frankenstein complex”, which influences how we interpret all Frankenstein texts, from film adaptations to staged dramas and the original novel. In this sense, the silencing of the monster significantly affects our capacity to empathize with them and shapes our understanding of their connection to our own humanity.

This according to “Listening to the monster: Eliding and restoring the creature’s voice in adaptations of Frankenstein” by Jude Wright (Journal of adaptation in film & performance 8/3 [2015] 249–266; RILM Abstracts of Music Literature, 2015-90335).

The scene below from the 1931 film Frankenstein (directed by James Whale), illustrates how vocality can shape character empathy.

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Filed under Curiosities, Dramatic arts, Literature, Reception, Sound, Voice

Tagged as adaptations, Film, Frankenstein, Mary Shelley, monsters, Silence, Sound, vocality, Voice

by rilm | November 3, 2023 · 6:00 am

Amália Rodrigues and the politics of fado

Amália Rodrigues was born into a family of immigrants from the northern province of Beira Baixa in 1920. She initially performed as an amateur at local clubs before starting her self-taught professional career at the age of 19 in Lisbon’s fado clubs. From 1940 to 1946 she appeared in various productions of traditional Portuguese vaudeville (revista), playing the lead in the two films in 1947 Capas Negras and Fado. The film História de uma Cantadeira consolidated her reputation as a fado star. Amália’s first international performance took place in 1943 at the invitation of the Portuguese embassy in Madrid. From 1944 to 1946 she had two major engagements in Brazil, where she made her first recordings in 1945 for the Brazilian label Continental.

In 1950 she began recording for the Lisbon music label Valentim de Carvalho, to which she returned in 1961 after briefly switching to the French label Ducretet-Thompson in 1958. In 1949, Amália sang in Paris and London under the patronage of the Portuguese government. As part of the Marshall Plan cultural program in 1950, she gave a series of concerts in Berlin, Rome, Trieste, Dublin, Bern, and Paris. Some of these concerts were broadcast globally by The Voice of America (VOA) radio network, which contributed significantly to making her better known internationally. Although the Portuguese government supported her first international appearances, Rodrigues’ career was not dependent on political protection, especially considering her performances in communist Romania and the Soviet Union.

In 1952 she successfully performed a series of concerts at the New York club La Vie en Rose over the course of several weeks. This was followed by tours of Mexico and the United States, where she performed in 1953 as a guest on the Eddy Fisher Show. In 1955, she appeared in the French film Les Amants du Tage and recorded her hit song Barco negro. The film achieved record sales in France which led to an invitation to perform at the Olympia in Paris, the most renowned music hall in Europe at the time. Over the next two decades, Amália gave concerts throughout Europe, Brazil, the United States, Japan, the former Soviet Union, and the Middle East and performed at many festivals, including two appearances at the Brasov Festival in socialist Romania.

In the 1970s, Amália became a scapegoat for fado’s perceived ties to fascism after the genre became associated with the regimes of Antonio de Oliveira Salazar, the dictator who ruled Portugal from 1932 to 1968, and Marcelo Caetano until 1974. Contradicting her reputation as a fascist sympathizer, Amália tapped into fado’s earlier radical tradition staying ahead of the censors by singing artfully subversive songs with lyrics inspired by socialist and anarchist poets and donating to underground antifascist political organizations. She continued to record and perform until 1990 and retired from public life in 1994 for health reasons that had already affected the quality of her voice. Amália received numerous awards and decorations both in her native Portugal and internationally.

This according to the newly published entry on Amália Rodrigues in MGG Online. Listen to her recording Saudades de ti at the link below.

https://www.youtube.com/watch?v=z6HaV8tqjyI

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Filed under Europe, Film music, Performers, Politics, Popular music

Tagged as antifascism, fado, Film, Portugal, Women artists

by rilm | October 3, 2023 · 6:00 am

“The Overture” and Thai classical music

When people ask me about an introduction to Thai classical music, I (and many others) suggest watching a film entitled The Overture. It is indeed a good beginning into the world of Thai classical music.

The Overture (โหมโรง Hom Rong), released in 2004, is a fictional film based on the life of the legendary Thai classical musician, Sorn Silpabanlen (1881-1954), also known as Luang Pradit Pairoh. The film parallels two different eras in which Sorn lived: the late 19th century, when he was young and Thai classical music was under patronage, and the 1940s, when Sorn became an old master and Thai classical music was regarded as uncivilized in the face of modernization programs led by Field Marshal Plaek Pibulsonggram. Below is a brief synopsis and analysis of key scenes and themes in the film.

As a young man born into a musical family, Sorn is a talented ranat ek (Thai xylophone) player, who has gained great recognition for his skills. His confidence, however, is shaken after losing a spontaneous public match to the ranat ek master Khun In. This defeat leads Sorn to devote himself to more rigorous practice. Ultimately, a chance for a revenge comes when Sorn joins the Royal ensemble leading to a one-on-one ranat ek match with Khun Inn with elites, locals, and even foreigners in the audience. After an intense performance, Sorn finally defeats Khun In. The scene then changes to the 1940s, where an older Sorn reflects on the day of the match while looking at photographs of his masters, including Khun In, hanging on the wall of his home. One night, a military officer visits his home to request that Thai classical music be abandoned for the purpose of promoting modernization in Thailand. The officer emphasizes to Sorn the need to civilize the nation. To this request Sorn replies, “If rooted deep and strong, a tree can stand still to any forces. If we do not take care of the roots, how can we survive?”

The performance of ranat ek throughout the film depicts several glamorous aspects of Thai classical music: virtuoso techniques (especially when playing in octaves at a faster tempo), various improvisations, and exciting Ranat ek matches. The breathtaking intensity of the ranat ek match is thrilling and a high point of the film. The Overture also introduces other instruments such as saw ou, a Thai fiddle that plays a very sweet and romantic song as the young Sorn meets his future wife.

Although Sorn and other Thai classical musicians oppose the governmental recognition of Thai classical music as uncivilized, it does not hinder their exploration of Western music. In a scene from the 1940s, the elderly Sorn plays the ranat ek alongside a piano brought by his son, who had studied Western music in Japan. This encounter is depicted as peaceful and filled with possibilities for the further development of Thai classical music. They appear open to any musical possibilities, as long as they have the autonomy to do so.

The film also reminds us about how Thai classical music and its position have been deeply embedded in the society and changes that have occurred to the tradition–once a symbol of the elites and royalty, it later became the unrefined object to be civilized and abandoned. This simultaneously raises questions about whether any authority can truly control music. When the military officer leaves Sorn’s house, Sorn plays ranat ek with the windows open, as if challenging the officer and the desire for modernization—this leaves Sorn open to arrest under government regulations. The officer looks around to find that local residents have gathered in front of Sorn’s house to enjoy the spontaneous performance. The enjoyment is clear on their faces. Instead of arresting Sorn, the officer and his cadets leave the house in their military automobiles while the sound of Thai classical music resonates and fills the air.

–Written by Shiho Ogura, RILM intern and MA student in Southeast Asian Studies at the National University of Singapore. Her research interests include Thai classical music, intercultural music-making in contemporary Asia, Japanese ethnomusicology, nationalism, and music education.

Below is the classic scene of the match between Sorn and Khun In. The video below it is the ranak ek and piano duet scene.

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Filed under Asia, Performers, World music

Tagged as Film, modernization, ranat ek, Sorn Silpabanlen, Thai music, Thailand

by rilm | April 28, 2023 · 6:00 am

The dark side of the rainbow

Fifty years ago today Pink Floyd’s album The dark side of the moon soared to number one on the US Billboard chart, beginning a record-breaking 741-week chart run; it has since sold over 45 million copies worldwide, making it the fourth-best-selling album in history.

Let’s celebrate this historic event by visiting an odd corner of the album’s reception history: a meticulous and complex theory claiming that it was conceived, constructed, and produced as a deliberate and calculated musical accompaniment to the 1939 film The Wizard of Oz, and that its sounds and silences will, if correctly decoded, reveal explicit and specific congruences with key scenes in the movie.

The theory’s origins can be traced to the mid-1990s, when fans began excitedly posting on Pink Floyd websites about synchronicities that result from simultaneously watching the film and listening to the album. Soon these fansites provided detailed instructions for experiencing these audio-visual parallels. Typically viewers are told to start the film and begin playing the album at the MGM trademark lion’s third roar; if the music begins at the moment that the words “Produced by Mervin Leroy” appear on the screen the synchronization is on track, and the coincidences begin:

Just after the words “look around” in Breathe, Dorothy turns around;
The words “balanced on the biggest wave” accompany Dorothy balancing on a fence;
At the words “no one told you when to run” Dorothy breaks into a trot;
The great gig in the sky starts just as the tornado arrives, and ends when it ceases;
Many aspects of the Munchkin scene are coordinated with Money;
The chimes in Time coincide with the appearance of the Wicked Witch of the West;

and so on, with different websites claiming as many as 70 to 100 moments of synchronicity.

Although the band members have dismissively refuted any association between the album and the film, enthusiasm for the theory continues unabated. On one level, this phenomenon may be an example of an urban myth. On another level, it may reveal much about how texts can generate multiple meanings that dispel the tyranny of the imposed explanation—one of the principal tenets underlying the relocation of the consumer as active rather than passive.

This according to “‘We’re not in Kansas any more’: Music, myth and narrative structure in The dark side of the moon” by Lee Barron and Ian Inglis, an essay included in “Speak to me”: The legacy of Pink Floyd’s “The dark side of the moon” (Aldershot: Ashgate, 2005, 56–66; RILM Abstracts of Music Literature 2005-6807).

Below, we invite you to see how many coincidences you can discover!

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Filed under Curiosities, Film music, Popular music

Tagged as Curiosities, Dark side of the moon, Film, Film music, Pink Floyd, Popular music, Wizard of Oz

by rilm | October 18, 2021 · 6:00 am

“West Side story” redux

Darker than a musical comedy, less imposing than an opera, more balletic than a song-and-dance show, West Side story’s tightly integrated movement, drama, design, and music signaled an important shift in U.S. musical theater.

Although its unity and coherence have drawn popular and scholarly attention, further study of the work reveals myriad interpretations and approaches—the inevitable result of a collaborative process. The choreographer Jerome Robbins wanted to create a classic, tragic dance vehicle combining ballet and popular styles; for Leonard Bernstein, it would mark the second attempt at writing the long-sought major American opera.

Torn between conflicting desires for popular success and status as a “serious” composer, Bernstein used eclecticism as a starting point for the creation of an accessible American art music. At the same time, pressure to create something “serious” within the compositional environment of the 1950s seems to have led him to employ the tritone both as a structural tool and a unifying surface detail, as well as reflecting the unusually dark subject matter of the work.

West Side story brought together some of the most prevalent and pressing issues of musical and cultural life of its day, from the New York Puerto Rican “problem” to the insurgence of juvenile delinquency. In addition, Robbins’s strongly ritualistic, tableau-oriented vision, with its privileging of male over female characterization, suggests a reading linking the work to longstanding mythical and literary archetypes—but also bringing up questions of the depiction of gender and ethnicity.

Such archetypes also inform Arthur Laurents’s book, one of the shortest on record for a Broadway musical. As in his other socially conscious works, Laurents mirrored Robbins’s dramatic agenda: the creation of an American mythology of urban life that could be contemporary but also lasting.

This according to West Side story: Cultural perspectives on an American musical by Elizabeth A. Wells (Lanham: Scarecrow Press, 2011; RILM Abstracts of Music Literature 2011-402).

Today is the 60th anniversary of the Academy Award-winning 1961 film of West Side story! Above and below, the film’s much-celebrated Prologue.

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Filed under Dance, Dramatic arts

Tagged as Anniversaries, Dance, Dramatic arts, Film, Jerome Robbins, Leonard Bernstein

by rilm | January 18, 2021 · 6:00 am

Re-encoding Carmen’s identity

The 2005 film U-Carmen eKhayelitsha is a South African adaptation and reconceptualization of Bizet’s Carmen. The change in culture and context affects the interpretation of the character of Carmen, who emerges as a strong black woman striving for autonomy within a patriarchal and sexist postcolonial South African society.

The film involves an interpretation of identity as a social construct dependent on the interaction between character and place within a specific period of time–in this case, Khayelitsha, a township on the outskirts of Cape Town, at the beginning of the 21st century. Its portrayal of the modern Carmen as an emancipated woman within a postcolonial and postmodernist context can be traced by interpreting semiotic signs and specific narrative strategies.

The re-encoding of Carmen’s identity questions intransigent or stereotypical perceptions of Carmen as the iconic femme fatale to which audiences have become accustomed; the indigenized production offers recourse to alternative perceptions of Carmen’s identity. U-Carmen eKhayelitsha does not deny the sensuality and femininity attributed to Carmen in the precursory texts, but it depicts her as an even more complex character than the one in Bizet’s opera.

This according to “The same, yet different: Re-encoding identity in U-Carmen eKhayelitsha” by Santisa Viljoen and Marita Wenzel (Journal of the musical arts in Africa XIII/1–2 [2016] 53–70; RILM Abstracts of Music Literature 2016-49747).

Tag Archives: Film

Video dance: New spaces for creativity and engagement

Jamaica’s first superstar

Tin Pan Alley and early film music

Dolly Parton, from country and pop to film

Vocality and the Frankenstein complex

Amália Rodrigues and the politics of fado

“The Overture” and Thai classical music

The dark side of the rainbow

“West Side story” redux

Re-encoding Carmen’s identity

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