Celtic music, Shakespeare and fandom.

Why would Celtic women performers invoke a dead colonialist English poet in their airs and dance sets? This article provides close readings of Shakespearean elements in the musical compositions of gold- and platinum-selling artists Loreena McKennitt, Ensemble Galilei, and Méav. It assesses the archa...

Descripción completa

Detalles Bibliográficos
Publicado en:Popular Music Vol. 43; no. 1; pp. 26 - 48
Autor principal: Cyrus, Cynthia J.
Formato: Artículo
Publicado: Cambridge University Press Feb2024
Materias:
Acceso en línea:Ver este registro en EBSCOhost
fields @attributes:
  recordID: 1
pdfLink:
plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=182325871&site=ehost-live
header:
  @attributes:
    shortDbName: hlh
    uiTerm: 182325871
    longDbName: Humanities International Complete
    uiTag: AN
  controlInfo:
    bkinfo:
    jinfo:
      jid:
        02611430
        PMU
      jtl: Popular Music
      issn: 02611430
      maglogo: N
    pubinfo:
      dt: Feb2024
      vid: 43
      iid: 1
      pid: 15979
      pub: Cambridge University Press
    artinfo:
      ui:
        182325871
        10.1017/S0261143024000217
      ppf: 26
      ppct: 22
      formats:
      tig:
        atl: Celtic music, Shakespeare and fandom.
      aug:
        au: Cyrus, Cynthia J.
        affil: Department of Musicology and Ethnomusicology, Vanderbilt University, Nashville, TN, USA
      su:
        Celtic music
        Celtic musicians
        Musical composition
        McKennitt, Loreena
        Cultural industries
      sug:
        subj:
          Celtic music
          Celtic musicians
          Musical composition
          McKennitt, Loreena
          Cultural industries
      ab: Why would Celtic women performers invoke a dead colonialist English poet in their airs and dance sets? This article provides close readings of Shakespearean elements in the musical compositions of gold- and platinum-selling artists Loreena McKennitt, Ensemble Galilei, and Méav. It assesses the archaicising musical language, structural reshapings, and ekphrastic elements as signals of 'restitutional creativity' and trans-temporal collaboration. It also analyses the reception of these works by fans and critics, responses replete with invocations of tradition and of timelessness. Like the fanfic-producing enthusiasts of Johnathan Pope's Shakespeare's Fans , the fans for Celtic music capitalise on their awareness of Shakespearean elements in this music to display personal expertise. In so doing, they enhance their own belonging within the Celtic music community.
      pubtype: Academic Journal
      doctype: Article
      src: R
    language: English
    refInfo:
    copyright:
      @attributes:
        flag: Y
      dt:
        @attributes:
          year: 2024
    holdings:
      @attributes:
        islocal: N