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And I Heard 'Em Say: Listening to the Black Prophetic Cameron J
Claremont Colleges Scholarship @ Claremont Pomona Senior Theses Pomona Student Scholarship 2015 And I Heard 'Em Say: Listening to the Black Prophetic Cameron J. Cook Pomona College Recommended Citation Cook, Cameron J., "And I Heard 'Em Say: Listening to the Black Prophetic" (2015). Pomona Senior Theses. Paper 138. http://scholarship.claremont.edu/pomona_theses/138 This Open Access Senior Thesis is brought to you for free and open access by the Pomona Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pomona Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. 1 And I Heard ‘Em Say: Listening to the Black Prophetic Cameron Cook Senior Thesis Class of 2015 Bachelor of Arts A thesis submitted in partial fulfillment of the Bachelor of Arts degree in Religious Studies Pomona College Spring 2015 2 Table of Contents Acknowledgements Chapter One: Introduction, Can You Hear It? Chapter Two: Nina Simone and the Prophetic Blues Chapter Three: Post-Racial Prophet: Kanye West and the Signs of Liberation Chapter Four: Conclusion, Are You Listening? Bibliography 3 Acknowledgments “In those days it was either live with music or die with noise, and we chose rather desperately to live.” Ralph Ellison, Shadow and Act There are too many people I’d like to thank and acknowledge in this section. I suppose I’ll jump right in. Thank you, Professor Darryl Smith, for being my Religious Studies guide and mentor during my time at Pomona. Your influence in my life is failed by words. Thank you, Professor John Seery, for never rebuking my theories, weird as they may be. -
THOUSAND MILE SONG Also by David Rothenberg
THOUSAND MILE SONG Also by David Rothenberg Is It Painful to Think? Hand’s End Sudden Music Blue Cliff Record Always the Mountains Why Birds Sing THOUSAND MILE SONG Whale Music In a Sea of Sound DAVID ROTHENBERG A Member of the Perseus Books Group New York Copyright © 2008 by David Rothenberg Published by Basic Books, A Member of the Perseus Books Group All rights reserved. Printed in the United States of America. No part of this book may be reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews. For information, address Basic Books, 387 Park Avenue South, New York, NY 10016–8810. Books published by Basic Books are available at special discounts for bulk purchases in the United States by corporations, institutions, and other organizations. For more information, please contact the Special Markets Department at the Perseus Books Group, 2300 Chestnut Street, Suite 200, Philadelphia, PA 19103, or call (800) 255–1514, or e-mail [email protected]. Designed by Linda Mark Set in 12 pt Granjon by The Perseus Books Group Library of Congress Cataloging-in-Publication Data Rothenberg, David, 1962- Thousand mile song: whale music in a sea of sound / David Rothenberg. p. cm. Includes bibliographical references and index. ISBN 978-0-465-07128-9 (alk. paper) 1. Whales—Behavior. 2. Whale sounds. I. Title. QL737.C4R63 2008 599.5’1594—dc22 2007048161 10 9 8 7 6 5 4 3 2 1 CONTENTS 1 WE DIDN’T KNOW, WE DIDN’T KNOW: Whale Song Hits the Charts 1 2GONNA GROW -
Wallace Stevens
Classic Poetry Series Wallace Stevens - poems - Publication Date: 2004 Publisher: PoemHunter.Com - The World's Poetry Archive A High-Toned Old Christian Woman Poetry is the supreme fiction, madame. Take the moral law and make a nave of it And from the nave build haunted heaven. Thus, The conscience is converted into palms, Like windy citherns hankering for hymns. We agree in principle. That's clear. But take The opposing law and make a peristyle, And from the peristyle project a masque Beyond the planets. Thus, our bawdiness, Unpurged by epitaph, indulged at last, Is equally converted into palms, Squiggling like saxophones. And palm for palm, Madame, we are where we began. Allow, Therefore, that in the planetary scene Your disaffected flagellants, well-stuffed, Smacking their muzzy bellies in parade, Proud of such novelties of the sublime, Such tink and tank and tunk-a-tunk-tunk, May, merely may, madame, whip from themselves A jovial hullabaloo among the spheres. This will make widows wince. But fictive things Wink as they will. Wink most when widows wince. Wallace Stevens www.PoemHunter.com - The World's Poetry Archive 2 Anecdote of the Jar I placed a jar in Tennessee, And round it was, upon a hill. It made the slovenly wilderness Surround that hill. The wilderness rose up to it, And sprawled around, no longer wild. The jar was round upon the ground And tall and of a port in air. It took dominion everywhere. The jar was gray and bare. It did not give of bird or bush, Like nothing else in Tennessee. -
MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division -
Mapping Social Dialogue in the Commercial Live Performance Sector in Bulgaria, Czechia, Poland, Romania and Serbia
Annex 3. Country report: Poland Mapping social dialogue in the commercial live performance sector in Bulgaria, Czechia, Poland, Romania and Serbia Agnieszka Paczyńska March 2021 With the financial support of the European Commission Mapping social dialogue in the commercial live performance sector in Bulgaria, Czechia, Poland, Romania and Serbia Table of contents Executive summary 3 Introduction 6 Commercial live performance sector: a brief overview 7 Size 8 Key characteristics 9 Organisations 10 Individual performers 11 Business models 12 Social dialogue in the commercial live performance sector 16 Existing social partners 17 Other forms of self-organisation 19 Social dialogue - state of play 20 Key barriers to dialogue 20 What could stimulate dialogue? 21 The dialogue topics most important to stakeholder 23 The Covid-19 crisis and social dialogue 24 Recommendations: social dialogue for a stronger live performance sector 27 Annexes Country report: Bulgaria 31 Country report: Czech Republic 60 Country report: Poland 75 Country report: Romania 93 Country report: Serbia 113 This publication reflects only the author’s view, and the European Commission is not responsible for any use that may be made of the information it contains. Project number: VS/2019/0014 Executive summary This report maps the social dialogue situation in the commercial live performance sector in five European countries: Bulgaria, Czechia, Poland, Romania and Serbia. The sector covers all music, theatre, dance, circus and similar live performance activities run by private for-profit or not-for- profit entities operationally not fully dependent on the public sector even if partly rely on public subsidies. Precise statistics on the size of the sector in question are not available but existing data point to employment totalling around 100,000 in the five countries, while the number of entities concerned by far exceeds that of public institutions in the sector. -
The Ohio State University, Ph.D., 1973 Education, Music Copyright By
HOLT, Dennis Michael, 1944- AN EVALUATION STUDY OF TWO UNITS OF INSTRUCTION FOR PROVIDING PROSPECTIVE ELEMENTARY TEACHERS WITH AN ORIENTATION TO SELECTED ASPECTS OF GENERAL MUSIC TEACHING AND LEARNING. The Ohio State University, Ph.D., 1973 Education, music University Microfilms, A XEROX Company, Ann Arbor, Michigan © Copyright by Dennis Michael Holt 1973 THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. AN EVALUATION STUDY OF TWO UNITS OF INSTRUCTION FOR PROVIDING PROSPECTIVE ELEMENTARY TEACHERS WITH AN ORIENTATION TO SELECTED ASPECTS OF GENERAL MUSIC TEACHING AND LEARNING DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio state University By Dennis Michael Holt, B.A., M.Ed. ****** The Ohio State University 1973 Reading Committee: Approved by Henry L. Cady John B . Hough H. Wayne Ramsey School ot Music ACKNOWLEDGMENTS The author expresses his appreciation to those per sons whose assistance made the completion of this project possible, especially the following: Dr. Henry L. Cady, adviser, for his critical exam ination of this study at each stage of its development, and the many improvements resulting from his scholarly insight. Appreciation is also extended to the other members of the author's committee, Dr. John B. Hough, and Dr. H. Wayne Ramsey; Mrs. Rebecca Burns, music specialist, Colonial Hills Elementary School, Worthington Public Schools, Worthington, Ohio, for her excellent cooperation and assistance; Mrs. Patricia Saunders, programmer, The Instruction and Research Computer Center of The Ohio State Univer sity, whose thoughtful assistance is acknowledged; Libby Wilson Holt, wife, for her patience, assistance, and encouragement, which were instrumental in the comple tion of this project. -
I. the Metler of NOTHINGNESS 2. Samuel French Morse, Quoted By
Notes I. THE METlER OF NOTHINGNESS 1. My title alludes to a phrase in 'Seventy Years Later" (CP 525-6), the whole of which late poem is suggestively relevant to this chapler. Sources of quotations from Stevens's published writings will be given in the running lext, using the abbreviations already described. 2. Samuel French Morse, quoted by Peter Brazeau in his Parts of a World: Wallacr Stevens Rt'IIJembi'rrd (New York: J{andom House, 1983), p. 152. Subsequent references to this book wil! be incorporated in Ihe running h.'xl as (Brazeau, p. -), 3. WI' Dream of Honour: John Berryman '5 Letters to his Mother, ed. I{ichard J. Kelly (New York & London: W.W. Norton, 1988), p. 207;'So Long? Stevens' can be found in the collection His Toy, His Dream, His Rest (London: Faber & Faber, 1969), p. 148. 4. Thomas C. Grey, The Wallace Stevws Case: Law alld the Practice af Paetry (Cambridge, Mass. & London: Harvard University I'ress, 1991), p. 12. 5. Pound's remarks about Stevens date from 1933, and are quoted by Alan Filreis in Modernism from RiXI1t to Left: Wal/ace Stevells, the Tllirties & Literary Radicalism (Cambridge & New York: Cambridge University Press, 1994), p. 147. 6. John Timberman Newcomb, Wallace StePt'lls alld Literary Callons (Jackson & London: University Press of Mi5Sis$ippi, 1992), pp. 3--4. 7. Henry James, HllwtilOrne, ed. Tony Tanner (London: Macmillan, 1967), pp. 55, 56. 8. D.H. Lawrence, Stlldies ill Classic Amrricall Literatllff! (Harmondsworth: Penguin, 1971), p. 70. [n citing Sacvan Bcrcovitch, I am thinki ng principally o f The Rites of Assent: Transformations in the Symbolic COllstruction af America (New York & London: Routledge, 1993). -
“The Savage Harmony”. Wallace Stevens and the Poetic Apprehension of an Anthropic Universe
“BABEŞ-BOLYAI” UNIVERSITY OF CLUJ-NAPOCA FACULTY OF LETTERS “THE SAVAGE HARMONY”. WALLACE STEVENS AND THE POETIC APPREHENSION OF AN ANTHROPIC UNIVERSE — SUMMARY — Scientific advisor: Virgil Stanciu, Ph.D. Doctoral candidate: Octavian-Paul More Cluj-Napoca 2010 Contents: Introduction: Stevens, the “Savage Harmony” and the Need for Revaluation Chapter I: Between “Ideas about the Thing” and “The Thing Itself”—Modernism, Positioning, and the Subject – Object Dialectic 1.1. Universalism, the search for the object and the metaphor of positioning as a “root metaphor” in Modernist poetry 1.2. “In-betweenness,” “coalescence” and the relational nature of Modernism 1.3. Common denominators and individual differences in redefining the Modernist search for the object 1.3.1. The drive toward identification, “subjectivising” the object and the “poetry of approach” (W. C. Williams) 1.3.2. Detachment, anti-perspectivism and the strategy of the “snow man” (W. Stevens) 1.4. Universalism revisited: the search for the object as a new mode of knowledge 1.4.1. The shift from static to dynamic and the abstractisation/reification of vision 1.4.2. Relativism vs. indetermination and the reassessment of the position of the subject 1.5. Individual vs. universal in a world of fragments: the search for the object as an experience of locality 1.5.1. “The affair of the possible” or “place” as the changing parlance of the imagination (W. Stevens) 1.5.2. “Suppressed complex(es)” or “place” as the locus of dissociation and transgression (T. S. Eliot) 1.5.3. “The palpable Elysium” or “place” as recuperation and reintegration (E. -
A Performance Guide to Wallace Stevens' Thirteen Ways of Looking at a Blackbird As Set by Louise Talma
The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 2020 A Performance Guide to Wallace Stevens' Thirteen Ways of Looking at a Blackbird as Set by Louise Talma Meredith Melvin Johnson The University of Soutthern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Performance Commons Recommended Citation Johnson, Meredith Melvin, "A Performance Guide to Wallace Stevens' Thirteen Ways of Looking at a Blackbird as Set by Louise Talma" (2020). Dissertations. 1787. https://aquila.usm.edu/dissertations/1787 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. A PERFORMANCE GUIDE TO WALLACE STEVENS’ THIRTEEN WAYS OF LOOKING AT A BLACKBIRD AS SET BY LOUISE TALMA by Meredith Melvin Johnson A Dissertation Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved by: Dr. Christopher Goertzen, Committee Chair Dr. Jonathan Yarrington Dr. Kimberley Davis Dr. Maryann Kyle Dr. Douglas Rust ____________________ ____________________ ____________________ Dr. Christopher Goertzen Dr. Jay Dean Dr. Karen S. Coats Committee Chair Director of School Dean of the Graduate School May 2020 COPYRIGHT BY Meredith Melvin Johnson 2020 Published by the Graduate School ABSTRACT This dissertation presents a two-fold discourse, first to provide a contextual source for singers interested in 20th century composer Louise Talma, and second to provide an analytical guide to Talma’s adaption of Wallace Stevens’ poem Thirteen Ways of Looking at a Blackbird for voice, oboe, and piano. -
A Critique of Female Gender Performance in Fashion
Girls Will Be Girls: A Critique of Female Gender Performance in Fashion By Drew Gulley What am I, Loby?” she suggested – rather than asked – rhetorically. “I’m the key image in an advertising campaign. I’m the good/bad wild thing whom everybody wants, wants to be like – who prefers ninety-nine instead of one. I’m the one whom men search out from seeding to seeding. I’m the one whom all the women style their hair after, raise and lower their hems and necklines as mine rise and lower. The world steals my witticisms, my gestures, even my mistakes, to try out on each new lover.” Le Dove, The Einstein Intersection by Samuel Delany Recent moves in sociological thought have theorized a concept of gender apart from sex. While sex remains within the confines of biology, our understanding of gender is multi-layered and complex. In short, gender is a constructed creation; built brick by brick through performance. As Judith Butler writes in her seminal book, Bodies That Matter, “When the constructed status of gender is theorized as radically independent of sex, gender itself becomes a free-floating artifice, with the consequences of man and masculine might just as easily signify a female body as a male one, and woman and feminine a male body as easily as a female one” (Butler 6). Butler’s work is a radical shift from a history traditionally molded around a set of biological differences as the basis for performance at home, in the workplace, and at play. So are we, as a culture and people, also left to float when we seek to negate the binaries of ‘man’ or ‘woman?’ Where do we redefine the limits and boundaries of gender, if such fences exist? To answer these questions, I will delve into the multidimensional realm of women’s high fashion. -
Clothing Terms from Around the World
Clothing terms from around the world A Afghan a blanket or shawl of coloured wool knitted or crocheted in strips or squares. Aglet or aiglet is the little plastic or metal cladding on the end of shoelaces that keeps the twine from unravelling. The word comes from the Latin word acus which means needle. In times past, aglets were usually made of metal though some were glass or stone. aiguillette aglet; specifically, a shoulder cord worn by designated military aides. A-line skirt a skirt with panels fitted at the waist and flaring out into a triangular shape. This skirt suits most body types. amice amice a liturgical vestment made of an oblong piece of cloth usually of white linen and worn about the neck and shoulders and partly under the alb. (By the way, if you do not know what an "alb" is, you can find it in this glossary...) alb a full-length white linen ecclesiastical vestment with long sleeves that is gathered at the waist with a cincture aloha shirt Hawaiian shirt angrakha a long robe with an asymmetrical opening in the chest area reaching down to the knees worn by males in India anklet a short sock reaching slightly above the ankle anorak parka anorak apron apron a garment of cloth, plastic, or leather tied around the waist and used to protect clothing or adorn a costume arctic a rubber overshoe reaching to the ankle or above armband a band usually worn around the upper part of a sleeve for identification or in mourning armlet a band, as of cloth or metal, worn around the upper arm armour defensive covering for the body, generally made of metal, used in combat. -
Wallace Stevens and German Idealism: Reply to Bly
107 Wallace Stevens and German Idealism: Reply to Bly Clive Stroud-Drinkwater Robert Bly liked Stevens' early poems but not his later ones: "The late poems are as weak as is possible for a genius to write; what is worse, most of them have the white nightgown mentality" (76). The phrase "white night gown" is from Stevens' "Disillusionment of Ten O'Clock" (Harmonium); the wearers of white nightgowns are the cautious people who, secure in their houses, do not enjoy colour, those who do not "dream of baboons and periwinkles." The implication is that Stevens slipped into that blank mind-set, as he got older. Certainly Stevens disapproves of the white-nightgown mentality. Much of his early poetry is a sermon on the value of the beauty of this world. In "Sunday Morning," for instance, he asks of a white-nightgown wearer, What is divinity if it can come Only in silent shadows and in dreams? Shall she not find in comforts of the sun, In pungent fruit and bright, green wings, or else In any balm or beauty of the earth, Things to be cherished like the thought of heaven? This is easy to comprehend: the details of the real world surpass abstract images of paradise: "And shall the earth I Seem all of paradise that we shall know?" The answer comes soon: of paradise Stevens writes, Why set the pear upon those river-banks Or spice the shores with odors of the plum? 108 Clive Stroud-Drinkwater Alas, that they should wear our colors there, The silken weavings of our afternoons, And pick the strings of our insipid lutes! Death is the mother of beauty ..