Recomposing the Past: Representations of Early Music on Stage and Screen’
- Submitting institution
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Birmingham City University
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 33Z_OP_B0071
- Type
- B - Edited book
- DOI
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- Publisher
- Routledge
- ISBN
- 9781138287471
- Open access status
- Out of scope for open access requirements
- Month of publication
- -
- Year of publication
- 2018
- URL
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- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- Yes
- Additional information
- _Recomposing the Past: Representations of Early Music on Stage and Screen_ is a co-edited collection jointly conceived by the directors of the Representations of Early Music on Stage and Screen study group (REMOSS), James Cook, Alexander Kolassa and Adam Whittaker. The book is concerned with the complex ways in which we engage with the past in modern times. Its thirteen chapters examine how media on stage and screen uses early music to evoke and recompose a distant past. Culture, popular and otherwise, is awash with a stylised – sometimes contradictory – musical history. Through three related sections, the book demonstrates that these representations of the past through music are integral to how our contemporary and collective imaginations understand history and our musical present. The collection argues that such representative strategies cross generic boundaries, bringing together a range of multimedia discussion on the subjects of film, television, video game, and opera. _Recomposing the Past_ constitutes a significant interdisciplinary contribution to a growing literature which is unpacking our ongoing creative dialogue with the past.
Whittaker’s chapter considers the ways in which the musical past is represented and recomposed in three filmic retellings of The Hunchback of Notre Dame. It addresses both the sonic and visual representation of historical sound, and the ways in which perceptions of the musical past have evolved over the twentieth-century. Whittaker’s chapter draws on the theoretical concepts of geography as history. Importantly, it establishes a framework for the demarcation of sacred and secular spaces within the filmic contexts through aural cues and musical codes. Whittaker’s discussions of space and place establish the groundwork for the final chapter in the collection (which he co-authored), synthesising the role of neomedievalism in fantastical pasts through the Game of Thrones series.
- Author contribution statement
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- Non-English
- No
- English abstract
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