Creating a Circus of Words, Music, and Sound: From Roaratorio to Owenvarragh

This article documents the creation of a work by the authors based on a score written by the composer John Cage entitled 'Owenvarragh: A Belfast Circus on The Star Factory.' The article is part of a documentary portfolio in the journal which also includes a volume of the poetry created by Dowling in accordance with the instructions of the Cage score, and a series of documentary videos on the creation of the work and its first performance. Cage's score is based on his work 'Roaratorio: An Irish Circus on Finnegan's Wake' (1979) and it provides a set of detailed instructions for the musical realisation of a literary work. The article documents this first fully realised version of the score since Cage first produced 'Roaratorio' in 1979. The work, which was motivated by the Cage centenary year in 2012, musically realises Carson's book 'The Star Factory' (1998), a novelestic autobiography of Carson's Belfast childhood. The score required the creation of a fixed media piece based on over 300 field recordings of the sounds and places mentioned in the book, a volume of poetry created from the book which is recited to form the rhythmic spine of the work, and the arrangement of a performance including these two components along with live musical performance by the authors in collaboration with three other musicians under their direction, and a video installation created for the work. The piece has been performed three times: in association with the Sonorities 2012 Festival at Queen's University of Belfast (March 2012), at The Belfast Festival at Queen's (October 2012), and in the Rymer Auditoium of the University of York (June 2013).

Additional information:

The work which the article documents was conceived by Monaghan and Dowling, and the project was initiated by Monaghan after a she received a student prize to support its development and first performance. Elements of the project will be included in her PhD dissertation for which Dowling is a supervisor. Monaghan created the fixed media piece based on over 300 field recordings, the largest single aspect of realising Cage's score. Dowling was responsible for initiating the collaboration with Ciaran Carson, and for two other components: the creation of a volume of poetry derived from the literary work which is recited in the performance, and the creation of and supervision of the technical work on a video which accompanies the piece. The co-authors consulted closely during the work on these large components from May 2011 until March 2012 when the first performance took place. The co-authors also shared in numerous other artistic and organisational aspects of the production, including the arrangement and performnance of the music, musical direction to other performers, and marketing.

Labor and Place: The Contours of Freedpeoples' Mobilization in Reconstruction South Carolina

Important advances in scholarship on the post-emancipation South have made possible a new synthesis that moves beyond broad generalizations about African American agency to identify both the shared elements in black life across the region and the varying capacity of freedpeople to assert their interests in the face of white hostility. Building on a number of recent studies of Reconstruction this article seeks to demonstrate that the varying capacity of freedpeople in South Carolina to shape and defend the new society that would emerge after the end of slavery was rooted in their relative strength at work and in their communities. In Charleston and its lowcountry rural hinterland, demographic strength combined with deeply-rooted traditions of collective assertion to sustain a remarkably vibrant grassroots movement that persisted beyond the overthrow of Reconstruction. From very early on, by contrast, former slaves dispersed across the rural interior found their freedom severely circumscribed by a bellicose and heavily-armed white paramilitary campaign.

The construction of images of people and place: Labelling Liverpool and stereotyping Scousers.

On 28th August 1207, King John created the Borough of Liverpool by granting its first charter. During the ensuing 800 years Liverpool has experienced a complex and changing social, economic and political history resulting in powerful images of the city and its people. This paper examines the labelling of Liverpool and stereotypes of Scousers. It explains how historical and contemporary events, and their coverage in various arms of the media, construct social and spatial imaginations of the city. This involves a more systematic contribution to the how and why dimensions of negative place imagery and social stereotypes, and enhances our understanding of the processes and issues affecting our interpretations of people and place. The analysis is both historical and contemporaneous in teasing out how previous and current events shape the perceptions of insiders and outsiders. This paper reveals that despite concerted efforts to re-brand Liverpool the city continues to face difficult challenges with ongoing bad publicity and negative place imagery.

Meaning in Electroacoustic Music and the Everyday Mind

The key question posed here is how listeners experience meaning when listening to electroacoustic music, especially how they experience it as art. This question is addressed by connecting electroacoustic listening with the ways that the mind constructs meaning in everyday life. Initially, the topic of the everyday mind provides a framework for discussing cognitive schemas, mental spaces, the Event schema and auditory gist. Then, specific idioms of electroacoustic music are examined that give rise to artistic meaning. These include the creative binding of circumstances with events and the conceptual blending that creates metaphorical meaning. Finally, the listener's experience of long-term events is discussed is relation to the location event-structure metaphor.

Desegregation and Place Restructuring in the New Belfast

A sustained reduction in unemployment, economic growth and house price increase have reflected Belfast’s post-conflict renaissance just as readily as the global recession has exposed the fragility of construction-led growth. Rates of segregation had stabilised and new consumption spaces and élite developments further reflected the city’s engagement with globalisation and economic liberalisation. This paper explores the spatial impact of these processes, not least as gentrification has created new layers of residential segregation in a city already preoccupied with high rates of ethno-religious territoriality. A case study of south Belfast connects these shifts to the production of new mixed-religion neighbourhoods. These have the capacity to reduce the relevance of traditional binary identities, but at the same time reproduce new forms of segregation centred on tenure and class. The paper concludes by highlighting the implications for policy and practice, not least as the recession opens new spaces to present alternatives to the market logic.

Articles on Irish music and musicians

Various items on Irish traditional music commissioned by the editor, totalling 7,000 words, including profiles of a number of individuals and institutions and more significant essays on the subjects Composers and Composition, Standards, Arrangement, and Migration.