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This article aims to identify the fashioned 'look' of sound, and the sound of a fashion look, by investigating a significant precedent in the early music video canon: 'Ashes to Ashes' (1980), co-directed by David Mallet and David Bowie. The article analyses the three characters that Bowie performs in the video in recognition of three recurring concerns of fashion theory: time, space and masculine sartorial identity. The character of Pierrot is considered through understandings of modernity and postmodernity, including the reciprocal influence of the nostalgic-futurist 'New Romantic' movement. The character of Major Tom is evaluated with regard to different understandings of 'space' in the music video. Finally, a third persona, a man who inhabits the atmosphere of a padded cell, is looked at in association with Bowie's legacy in contemporary masculine fashion. [ABSTRACT FROM AUTHOR]

The article discusses the original choral composition "Indianas" by Argentine composer Carlos Guastavino and his song "Nueva canción," a Latin American musical movement in Argentina, Chile, and Uruguay in retaliation to political discord. It mentions his compositional style as a balanced blend of Argentine nationalism and his neo-romantic style of extended harmonies and sonorous melodies.

In this article the author informs about Finnish Composer Einojuhani Rautavaara experience as lack of progressive logic in his output and development with abrupt changes of composing techniques as a series of revolutions. Topics discussed include integral serialism can be considered merely an extension of basic twelve-tone techniques; complete reversal of style and technique into neoromanticism; and Serial techniques were used for rhetorical purposes in music compositions.

In this article the author informs about mature style of Finnish composer Einojuhani Rautavaara with modernistic devices, which features such as neoromantic textures, triadic and modal harmonies, aleatoric counterpoint, clusters, and serialism. It mentions about characteristic of Rautavaara's twelve-tone practices already in his first serial period around the turn of the 1960s.

This article profiles the ‘techno-tourists’ of Berlin: music fans who return repeatedly to the city in order to participate in the local electronic dance music scenes. Based on interviews, this article sketches a profile of these music-minded voyagers, surveying their motivations, their attitudes, their patterns of travel and their strategies for making this mode of travel possible in terms of work and money. It also situates this recent wave of tourism within a broader history of tourism in Berlin, as well as considering its representation in local popular discourse. Local debates about the impact of tourism are reflected in interviewees’ ambivalence towards tourist identities, as they strive to describe the terms of their socio-cultural belonging within a sub-cultural scene that is spatially distant from house and home. [ABSTRACT FROM AUTHOR]

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The article focuses on the review of Romanian folklore. It mentions that Romanian folk songs in the twentieth century are built in three aesthetic forms such as neo-romantic, neoclassical and impressionist. It states that several composers, including George Balint, Dana Teodorescu and Grigore Cudalbu, are synthesizing folk elements from new techniques to formulate a contemporary innovative one. Furthermore, composer Liviu Glodeanu used to create high density sound blocks type texture and serialization of intervals from the song to produce a new matrix of sound.

This essay explores pastoralism in music and art during the Second World War. It contends that Benjamin Britten’s Serenade for Tenor, Horn and Strings (1943), is a key work of neo-Romanticism which is deeply imbricated in the visual culture of the period. In this work Britten directly engages with the English Romantic heritage, literary and visual. The cover of the score bears a reproduction of Samuel Palmer’s Cornfield by Moonlight with the Evening Star (1830), while a setting of William Blake’s poem ‘The Sick Rose’, from the illuminated book Songs of Innocence lies at the heart of the work. Palmer and Blake offered contrasting tropes of artistic identity and opposing responses to the pastoral, held in tension in the work of neo-Romantic painters such as Graham Sutherland, John Piper and John Craxton and in Britten’s Serenade. The harsher landscapes of Britten’s opera Peter Grimes (1945), deriving from E. M. Forster’s rediscovery of the poems of George Crabbe, added violence and intolerance to the neo-Romantic repertoire. [ABSTRACT FROM AUTHOR]

Copyright of Austrian Studies is the property of Modern Humanities Research Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)