Ben Earle
Biographic Data
| ID | 970869 |
|---|---|
| NAME | Ben Earle |
| GIVEN NAMES | Ben |
| FAMILY NAME | Earle |
| SIGNATURE | BEN EARLE |
| AFFILIATIONS | University of Birmingham |
| VERIFIED | No |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 2001 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Links, ladders, and levers
Ample literature describes the limits of the charitable food sector in meeting the food security needs of individuals. Nascent work now highlights diverse and innovative approaches in the sector in the absence of the right to food. Given the cost-of-living crisis and intensifying food insecurity in Canada, efforts towards greater diversification and innovation may be slowing, and in some cases, advocacy for systems change has been deprioritized i…
Camilla Poesio, Tutto è ritmo, tutto è swing. Il Jazz, il fascismo e la società italiana
Academic interest in the musical life of fascist Italy has never been strong, even among Italians. Back in the 1980s, Richard Taruskin thought he could explain the uninspiring nature of the topic, as he saw it, by reference to the poor quality of twentieth-century Italian composition. He literally did not know what he was talking about. How could he, when the music even of one of the most internationally successful Italian composers of the fascis…
Opera in Postwar Venice
What is the point of reception history? It is not a question asked by Harriet Boyd-Bennett in her new book. Forsaking any attempt ‘to define late operatic modernity as a discrete succession of sounds or styles’, she proposes to consider the 1950s as ‘a decade that exhibits a precise ideological space, a certain coherence’. Boyd-Bennett selects six Venetian operatic events of the period and enquires after ‘the artistic and critical nexus that prod…
La giovinezza sommersa di un compositore
On the morning of 26 July 1943, Luigi Dallapiccola, Professor of Composition at the Conservatorio Luigi Cherubini in Florence, participated with two colleagues in an act of triumphant vandalism at their workplace, toppling and breaking a statue of Benito Mussolini that, as Luciano Alberti explains towards the end of this vast book, ‘dominated the big staircase that leads from the entrance hall to the balcony of the concert hall’ (p. 464). The com…
Modernism and Reification in the Music of Frank Bridge
Drawing on the tradition of Formenlehre, this article puts forward a methodological historicism as a means of mediating between the disciplinary expectations of musical analysis, on the one hand, and philosophical aesthetics, on the other. Stylistic developments in the later music of Frank Bridge, perhaps British music's best claim to a high modernist of the generation of Schoenberg and Stravinsky, are illuminated by means of Theodor W. Adorno's …
Twelve-Note Music as Music
Analysts of twelve-note music tend to treat this repertoire as if it were composed of numbers rather than notes. The first part of this article asks how they might treat this music as if it were music. A theoretical position is developed via close readings of the work a number of theorists and philosophers, notablyRogerScruton andTheodorW.Adorno. InPartII, the potential of the position developed inPartIis tested in a review of three books on twel…
Luigi Dallapiccola and Musical Modernism in Fascist Italy
Luigi Dallapiccola is widely considered a defining figure in twentieth-century Italian musical modernism, whose compositions bear passionate witness to the historical period through which he lived. In this book, Ben Earle focuses on three major works by the composer: the one-act operas Volo di notte ('Night Flight') and Il prigioniero ('The Prisoner'), and the choral Canti di prigionia ('Songs of Imprisonment'), setting them in the context of con…
The Politics of the New Music
Journal Article The Politics of the New Music Get access Ben Earle Ben Earle * *Ben Earle, University of Birmingham. Email: [email protected]. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 94, Issue 4, November 2013, Pages 664–671, https://doi.org/10.1093/ml/gct111 Published: 18 December 2013
D allapiccola's E arly S ynthesis
Recent Italian commentary on the twelve‐note music of Luigi Dallapiccola (1904–75) has tended to reject the characteristic image of this composer's work that was established during his lifetime. Notions of a ‘typically Italian lyricism’ or a ‘Mediterranean serialism’ have been jettisoned in favour of an emphasis on the neo‐Webernian ‘rigour’ of his technique. Such revisionism is misguided. Not only does this new approach exhibit a narrow formalis…
I Conservatori di musica durante il fascismo
Journal Article I Conservatori di musica durante il fascismo: La riforma del 1930. Storia e documenti Get access I Conservatori di musica durante il fascismo: La riforma del 1930. Storia e documenti. By Maione Orazio. pp. xiii + 168. Collana EDT/De Sono, Tesi 7. ( EDT, Turin, 2005, €18. ISBN 88-6040-019-8.) Ben Earle Ben Earle Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 88, Issue 1, February …
Berio, Luciano
Modernism and Reification in the Music of Frank Bridge
Drawing on the tradition of Formenlehre, this article puts forward a methodological historicism as a means of mediating between the disciplinary expectations of musical analysis, on the one hand, and philosophical aesthetics, on the other. Stylistic developments in the later music of Frank Bridge, perhaps British music's best claim to a high modernist of the generation of Schoenberg and Stravinsky, are illuminated by means of Theodor W. Adorno's …
Twelve-Note Music as Music
Analysts of twelve-note music tend to treat this repertoire as if it were composed of numbers rather than notes. The first part of this article asks how they might treat this music as if it were music. A theoretical position is developed via close readings of the work a number of theorists and philosophers, notablyRogerScruton andTheodorW.Adorno. InPartII, the potential of the position developed inPartIis tested in a review of three books on twel…
Berio, Luciano
D allapiccola's E arly S ynthesis
Recent Italian commentary on the twelve‐note music of Luigi Dallapiccola (1904–75) has tended to reject the characteristic image of this composer's work that was established during his lifetime. Notions of a ‘typically Italian lyricism’ or a ‘Mediterranean serialism’ have been jettisoned in favour of an emphasis on the neo‐Webernian ‘rigour’ of his technique. Such revisionism is misguided. Not only does this new approach exhibit a narrow formalis…
I Conservatori di musica durante il fascismo
Journal Article I Conservatori di musica durante il fascismo: La riforma del 1930. Storia e documenti Get access I Conservatori di musica durante il fascismo: La riforma del 1930. Storia e documenti. By Maione Orazio. pp. xiii + 168. Collana EDT/De Sono, Tesi 7. ( EDT, Turin, 2005, €18. ISBN 88-6040-019-8.) Ben Earle Ben Earle Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 88, Issue 1, February …
Luigi Dallapiccola and Musical Modernism in Fascist Italy
Luigi Dallapiccola is widely considered a defining figure in twentieth-century Italian musical modernism, whose compositions bear passionate witness to the historical period through which he lived. In this book, Ben Earle focuses on three major works by the composer: the one-act operas Volo di notte ('Night Flight') and Il prigioniero ('The Prisoner'), and the choral Canti di prigionia ('Songs of Imprisonment'), setting them in the context of con…
The Politics of the New Music
Journal Article The Politics of the New Music Get access Ben Earle Ben Earle * *Ben Earle, University of Birmingham. Email: [email protected]. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 94, Issue 4, November 2013, Pages 664–671, https://doi.org/10.1093/ml/gct111 Published: 18 December 2013
Twelve-Note Music as Music
Analysts of twelve-note music tend to treat this repertoire as if it were composed of numbers rather than notes. The first part of this article asks how they might treat this music as if it were music. A theoretical position is developed via close readings of the work a number of theorists and philosophers, notablyRogerScruton andTheodorW.Adorno. InPartII, the potential of the position developed inPartIis tested in a review of three books on twel…
Modernism and Reification in the Music of Frank Bridge
Drawing on the tradition of Formenlehre, this article puts forward a methodological historicism as a means of mediating between the disciplinary expectations of musical analysis, on the one hand, and philosophical aesthetics, on the other. Stylistic developments in the later music of Frank Bridge, perhaps British music's best claim to a high modernist of the generation of Schoenberg and Stravinsky, are illuminated by means of Theodor W. Adorno's …
La giovinezza sommersa di un compositore
On the morning of 26 July 1943, Luigi Dallapiccola, Professor of Composition at the Conservatorio Luigi Cherubini in Florence, participated with two colleagues in an act of triumphant vandalism at their workplace, toppling and breaking a statue of Benito Mussolini that, as Luciano Alberti explains towards the end of this vast book, ‘dominated the big staircase that leads from the entrance hall to the balcony of the concert hall’ (p. 464). The com…
Camilla Poesio, Tutto è ritmo, tutto è swing. Il Jazz, il fascismo e la società italiana
Academic interest in the musical life of fascist Italy has never been strong, even among Italians. Back in the 1980s, Richard Taruskin thought he could explain the uninspiring nature of the topic, as he saw it, by reference to the poor quality of twentieth-century Italian composition. He literally did not know what he was talking about. How could he, when the music even of one of the most internationally successful Italian composers of the fascis…
Opera in Postwar Venice
What is the point of reception history? It is not a question asked by Harriet Boyd-Bennett in her new book. Forsaking any attempt ‘to define late operatic modernity as a discrete succession of sounds or styles’, she proposes to consider the 1950s as ‘a decade that exhibits a precise ideological space, a certain coherence’. Boyd-Bennett selects six Venetian operatic events of the period and enquires after ‘the artistic and critical nexus that prod…
Links, ladders, and levers
Ample literature describes the limits of the charitable food sector in meeting the food security needs of individuals. Nascent work now highlights diverse and innovative approaches in the sector in the absence of the right to food. Given the cost-of-living crisis and intensifying food insecurity in Canada, efforts towards greater diversification and innovation may be slowing, and in some cases, advocacy for systems change has been deprioritized i…
Art (10 works) · Art history (8 works) · Musicology and Musical Analysis (6 works) · Humanities (5 works) · Law (5 works) · History (4 works) · Literature (4 works) · Aesthetics (3 works) · Diverse Musicological Studies (3 works) · Italian Fascism and Post-war Society (3 works)