by noonan | Sep 16, 2015 | Music in Paris in the 1920s (2015)
Gumbrecht provides an interesting observation about racial culture and Paris’s craze over exotic dances and songs. For example, he uses Josephine Baker to emphasize how her movements and nakedness fascinates the public. According to Gumbrecht, Baker’s performances...
by wayne | Sep 16, 2015 | Music in Paris in the 1920s (2015)
In music history, we learn about composers who commented on and innovated from the music before their time. Each artist and piece fits neatly on a timeline, a line that lays out the changes in the ever-evolving trends of music. Much of history is presented as events...
by keller | Sep 16, 2015 | Music in Paris in the 1920s (2015)
If you find history texts daunting, exhausting, and boring look no further. Hans U. Gumbrecht aims to change the game of learning history in his book, In 1926’n’Living on the Edge of Time. Instead of following the same format that many historians pursue, Gumbrecht...
by hahnl | Sep 16, 2015 | Music in Paris in the 1920s (2015)
The Presner, Shepard, Kawano article hopes to encourage the idea of “thick mapping”. This concept is shaped by the idea that the digital humanities can potential be a place of discovery and interconnectedness. Essentially, the authors are arguing that by using...
by schenk | Sep 16, 2015 | Music in Paris in the 1920s (2015)
What first struck me as innovative about Gumbrecht’s “In 1926” was the opportunity it presents for unstructured exploration made possible through the book’s “web of cross-references” and by Gumbrecht’s related insistence that...
You must be logged in to post a comment.