Hatfield and the North (1974) : une synthèse en équilibre (notice n° 976546)
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| fixed length control field | 03624cam a2200313 4500500 |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20250125123448.0 |
| 041 ## - LANGUAGE CODE | |
| Language code of text/sound track or separate title | fre |
| 042 ## - AUTHENTICATION CODE | |
| Authentication code | dc |
| 100 10 - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Costa, Jacopo |
| Relator term | author |
| 245 00 - TITLE STATEMENT | |
| Title | Hatfield and the North (1974) : une synthèse en équilibre |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. | |
| Date of publication, distribution, etc. | 2022.<br/> |
| 500 ## - GENERAL NOTE | |
| General note | 2 |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | Le groupe Hatfield and the North figure parmi les plus représentatifs de la Scène de Canterbury : ses deux albums en constituent une production importante. Le premier album de 1974, simplement intitulé Hatfield and the North, est abordé ici essentiellement et selon plusieurs approches successives : contextualisation, forme des morceaux, analyse de l’enchaînement des morceaux pour chaque face du vinyle sur la base de la théorie des attentes musicales, les apports des différents musiciens et leurs spécificités dans le jeu instrumental, la pratique des métriques complexes dans « Shaving is boring » et « Lobster in Cleavage Probe », les différentes approches stylistiques des quatre membres du groupe et les interactions entre leurs conceptions musicales propres. Les contributions de trois musicologues convergent en une analyse détaillée et diversifiée des caractéristiques précises de cette musique. Le second album, The Rotter’s Club, est abordé en fin d’article, ainsi que le devenir de chacun des musiciens après la dissolution du groupe. Un entretien avec Dave Stewart (en fin d’article) porte sur les questions de composition et de production du disque. Une telle exploration de cet album permet au lecteur de mieux saisir la richesse de cette production et de la situer dans un contexte plus large, en l’occurrence celui de la Scène de Canterbury. |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | The band Hatfield and the North is one of the most representative of the Canterbury Scene: their two albums constitute a significant production. The first album of 1974 is approached through several successive approaches: contextualization, form of the pieces, analysis of the sequencing of songs for each side of the vinyl based on the theory of music expectation, the contributions of the various musicians and their specificities in the instrumental playing, the practice of the complex metrics in “Shaving is boring” and “Lobster in Cleavage Probe”, the various stylistic approaches of the four members of the group and the interactions between their own musical conceptions. The contributions of three musicologists converge in a detailed and diverse analysis of the specific features of this music. The second album, The Rotter’s Club, is briefly discussed at the end of the article, as well as the future of each of the musicians after its dissolution. An interview with Dave Stewart (at the end of this article) focuses on the composition and production of the record. Such an exploration of this album allows the reader to better grasp the richness of this production and to situate it in a broader context, in this case that of the Canterbury Scene. |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | scènes |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | rythme |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | forme / structure |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | lutherie / instruments |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | exécution / interprétation / technique instrumentale |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | rhythm |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | instrument-making / instruments |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | execution / performance / instrumental technique |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | form / structure |
| 690 ## - LOCAL SUBJECT ADDED ENTRY--TOPICAL TERM (OCLC, RLIN) | |
| Topical term or geographic name as entry element | scenes |
| 700 10 - ADDED ENTRY--PERSONAL NAME | |
| Personal name | Lalitte, Philippe |
| Relator term | author |
| 700 10 - ADDED ENTRY--PERSONAL NAME | |
| Personal name | Michel, Pierre |
| Relator term | author |
| 786 0# - DATA SOURCE ENTRY | |
| Note | Volume ! | 19:1 | 1 | 2022-09-19 | p. 11-36 | 2117-4148 |
| 856 41 - ELECTRONIC LOCATION AND ACCESS | |
| Uniform Resource Identifier | <a href="https://shs.cairn.info/revue-volume-2022-1-page-11?lang=fr&redirect-ssocas=7080">https://shs.cairn.info/revue-volume-2022-1-page-11?lang=fr&redirect-ssocas=7080</a> |
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