The 1990s work of six British composers forms the focus of this collection of essays, arising from a conference that took place at University of Surrey Roehampton in February 1999. The composers whose music is discussed are James Dillon, Thomas Ad Harrison Birtwistle, Jonathan Harvey, Edwin Roxburgh and Sebastian Forbes. Reflecting the aims of the conference, this volume brings together composers and musicologists to discuss significant works from the last decade of the twentieth century, and also some of the wider issues surrounding British music. Arnold Whittall and Julian Johnson provide perspectives on the plurality of contemporary British music. Edwin Roxburgh offers a personal account of 'The Artists' Dilemma', whilst the essays that follow explore aspects of musical form and structure in a variety of works. The second half of the book comprises interviews with most of the composers whose music is discussed in Part I, adding a further dimension to our understanding of the preoccupations of British composition at the end of the twentieth century.

Thesis (M.A.) from the year 2004 in the subject English Language and Literature Studies - Culture and Applied Geography, grade: 1.3, University of Leipzig, language: English, abstract: This thesis evaluates the relation between British popular music and national identity. It concentrates on developments during the 1990s, bringing together all three popular genres of pop music during that period: indie rock, dance music and black music. Taking into account theoretical considerations on popular music, this thesis applies theories of collective identities in general and national identity in particular to Nineties pop. By analyzing an example of popular music media as well as selected music texts, the discourses within popular music culture are being compared to general discourses on questions of national identity within Great Britain.

Britpop was more than just a musical movement; it was a cultural phenomenon that defined the 1990s in the UK. Emerging in the early 1990s and peaking around the middle of the decade, Britpop was characterized by a revival of British music, fashion, and identity. This period saw a resurgence of guitar-based rock music, a celebration of British culture, and a confident assertion of national identity. The term "Britpop" itself reflects the fusion of British culture and popular music, signaling a return to the sounds and sensibilities of classic British rock. The Britpop era was marked by a sense of optimism and a rejection of the grunge movement that had dominated the early 1990s. While grunge was introspective and often melancholic, Britpop was outward-looking, celebratory, and distinctly British. The music was often characterized by jangly guitars, catchy hooks, and lyrics that referenced British life and culture. Bands like Oasis, Blur, Pulp, and Suede became household names, and their music became the soundtrack to a generation. Britpop was also closely associated with the cultural and political climate of the time. The early 1990s were a period of economic recovery in the UK, following the recession of the late 1980s. There was a renewed sense of national pride, and Britpop became a symbol of this renewed confidence. The movement coincided with the rise of "Cool Britannia," a period of cultural renaissance in the UK, and the election of Tony Blair's Labour government in 1997, which promised a new era of prosperity and progress. However, Britpop was not without its critics. Some saw it as a superficial and commercially driven movement, lacking the depth and innovation of previous musical eras. Others criticized its focus on British identity, arguing that it was exclusionary and nationalistic. Despite these criticisms, there is no denying the impact of Britpop on British culture and its lasting legacy in the music industry. As we explore the origins, key figures, and cultural significance of Britpop, it is important to understand the broader context in which it emerged. Britpop was not just about the music; it was a reflection of the social, political, and cultural changes taking place in the UK at the time. It was a movement that captured the spirit of a generation and left an indelible mark on British culture.

Examines the trajectories, linearities and paradoxes which have constituted contemporary British music. Provides an account of how British music came to be what it is in the 1990s.

Seminar paper from the year 2012 in the subject Didactics for the subject English - Miscellaneous, grade: 1,7, University of Bonn (Institut für Anglistik, Amerikanistik und Keltologie), language: English, abstract: People all over the world have been identifying with music for years. Music has a social quality that is across-the-board. But now only one nation is on focus. Every British decade had its own sound. Looking at the 1960s, The Beatles and The Rolling Stones were dominating the music scene. Led Zeppelin and Black Sabbath invented Heavy Metal in the 1970s and also Glam Rock with representatives like Queen and David Bowie started during the 1970s. The 80s as the climax of the Punk Rock movement headed by the Sex Pistols and the upcoming Indie-Rock scene represented by The Cure. Music, now and then, reflects its time, its history and all the changes that passes by. The question of this term paper is, „Does one identity of the British excist? Or are there maybe several identities? Or none?“ And is music the key to find any answers?