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Thinking in Song
THINKING IN SONG Prosody, Text-Setting and Music Theory in Eighteenth-Century Germany A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Martin Kuester January 2012 © 2012 Martin Kuester THINKING IN SONG Prosody, Text-Setting and Music Theory in Eighteenth-Century Germany Martin Kuester, Ph.D. Cornell University 2012 Eighteenth-century music theorists habitually used terms that were apparently im- ported from grammar, rhetoric and poetics. While historians of music theory have commonly described these words as reflecting metaphorical attempts to understand music by analogy with language, this study emphasizes their technical value, especially with respect to vocal music, which includes both domains. In the case of Johann Mat- theson, Johann Adolph Scheibe, Joseph Riepel and Friedrich Wilhelm Marpurg, the literal meaning of this common vocabulary can be recovered by viewing their general composition rules���������������������� in the previously une�amined������������ conte��������������������������������t of their theories for compos- ing te�t and music of vocal works. Chapter One questions the applicability of a ‘metaphor of music as a language’ to eighteenth-century musical thought and proposes a new framework, centered on what Scheibe and others considered �����������������������������������������������the origin of both music and language, prosody. Chapter Two e�amines Mattheson’s famous minuet analysis and concludes that a prosodic sub-discipline of music theory provided a vocabulary that applied, in ten- dency, to words and notes of vocal music, simultaneously. Chapter Three traces the interaction of prosodic parameters in the longer history of ‘musical feet,’ pointing out eighteenth-century theorists’ successful efforts to adapt or re-adapt their terminol- ogy to the practice of modern vocal composition. -
Interview with Mr. Goff, 7Th Grade Interven
ExcEllEnt with distinction Vol 7 issuE 4 Interview with Volume 7, Issue 3 Mr. Goff, 7th [Social Enmity within Grade Interven- an Educational Setting] Editorial by Kayla K tion Specialist. Social enmity. Social enmity is a term that can de- By Bri L. scribe the situation between fellow students and what 1.What brought you can cause them to be rude or unkind to their peers. to North Union? There are many causes of social enmity, but some causes “I grew up in a town are social and developmental insecurity. When ele- similar to North Union mentary students make the transition to middle school and I also enjoyed the interview. It was a great students, they have to create an identity. For the most atmosphere and the staff members were amazing part, students will spend the majority of their middle people.” school years creating their identities. When students 2. What’s your favorite color? “Blue.” make that transition, they experience sadness at the 3. Where did you go to college? “The Ohio State loss of childhood, and anxiety from a feeling of loss of University.” control. Students have to learn to fit into their families 4. What’s your favorite sport? “Basketball/volley- again due to more tension in the relationship between ball, but I like to watch football.” 5. Ohio State or Michigan? “Ohio State.” the son/daughter and their parents. Due to all the 6. Do you have and children or wife? “No, but I mixed emotions and confusion, the competition for an have a girlfriend.” identity becomes pretty ruthless. -
Granting Presumptive Fair Use Protection for Musical Parodies Maureen Mccrann Roger Williams University School of Law
Roger Williams University Law Review Volume 14 Issue 1 Symposium: Complexity and Aggregation in Article 6 the Choice of Law Winter 2009 A Modest Proposal: Granting Presumptive Fair Use Protection for Musical Parodies Maureen McCrann Roger Williams University School of Law Follow this and additional works at: http://docs.rwu.edu/rwu_LR Recommended Citation McCrann, Maureen (2009) "A Modest Proposal: Granting Presumptive Fair Use Protection for Musical Parodies ," Roger Williams University Law Review: Vol. 14: Iss. 1, Article 6. Available at: http://docs.rwu.edu/rwu_LR/vol14/iss1/6 This Notes and Comments is brought to you for free and open access by the Journals at DOCS@RWU. It has been accepted for inclusion in Roger Williams University Law Review by an authorized administrator of DOCS@RWU. For more information, please contact [email protected]. Notes A Modest Proposal: Granting Presumptive Fair Use Protection for Musical Parodies "YOU CAN'T MAKE UP ANYTHING ANYMORE. THE WORLD ITSELF IS A SATIRE. ALL YOU'RE DOING IS RECORDING IT." 1 In October 2007, the Bourne Company, copyright owners of "When You Wish Upon a Star," filed a complaint against Twentieth Century Fox and the producers of the popular animated TV show The Family Guy alleging "willful infringement of Plaintiffs copyright interests in the famous and iconic song."'2 This action resulted from an episode of The Family Guy titled "When You Wish Upon a Weinstein" in which the main character Peter Griffin sings re-written lyrics of "I Need a Jew" to the melody of "When You Wish Upon a Star."' 3 The defendants will likely assert fair use under copyright law, an affirmative defense to copyright infringement. -
History of Barbershop
HISTORY OF BARBERSHOP By David Krause and David Wright Definition of barbershop harmony. Read: Definition of Barbershop Harmony, from the Forward of the Contest and Judging Handbook. The Purpose Of This Course. We will attempt to trace the roots and the evolution of barbershop harmony from well before its actual beginnings up to the present. We will try to answer these questions: What were the tides of history which spawned the birth of the barbershop quartet, and what environment allowed this style of music to flourish? What were its musical forerunners? What are its defining characteristics? What other types of music were fostered contemporaneously, and how did they influence the growth of quartet singing? Which styles are similar, and how are they similar? How did the term "barbershop" arise? How long did the historical era of the barbershop quartet last? What other kinds of music sprang forth from it? Why did the style eventually need preservation? How was SPEBSQSA formed, and how did it become a national movement? What other organizations have joined the cause? How have they coped with the task of preservation? Are current day efforts still on course in preserving the style? How has the style changed since the Society was formed? We will spend the next few hours contemplating and attempting to answer these questions. Overtones. As barbershoppers, we are very conscious of the "ringing" effect which complements our singing. We consider it our reward for singing well- defined pitches in tune. The fact that a tone produced by a voice or an instrument is accompanied by a whole series of pitches in addition to the fundamental one which our ear most easily detects has been known for centuries. -
Vamping the Archive: Approaching Aesthetics in Global Media
University of Pennsylvania ScholarlyCommons Center for Advanced Research in Global CARGC Papers Communication (CARGC) Spring 2018 Vamping the Archive: Approaching Aesthetics in Global Media Rayya El Zein University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/cargc_papers Part of the Communication Commons Recommended Citation El Zein, Rayya, "Vamping the Archive: Approaching Aesthetics in Global Media" (2018). CARGC Papers. 8. https://repository.upenn.edu/cargc_papers/8 CARGC Paper 8 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/cargc_papers/8 For more information, please contact [email protected]. Vamping the Archive: Approaching Aesthetics in Global Media Description CARGC Paper 8, “Vamping the Archive: Approaching Aesthetics in Global Media,” by CARGC Postdoctoral Fellow, Rayya El Zein, is based on El Zein’s CARGC Colloquium and draws its inspiration from Metro al- Madina's Hishik Bishik Show in Beirut. CARGC Paper 8 weaves assessments of local and regional contexts, aesthetic and performance theory, thick description, participant observation, and interview to develop an approach to aesthetics in cultural production from the vantage of global media studies that she calls “vamping the archive.” Disciplines Communication Comments CARGC Paper 8 Creative Commons License This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This report is available at ScholarlyCommons: https://repository.upenn.edu/cargc_papers/8 CARGC PAPER 8 Vamping the Archive: Approaching 2018 Aesthetics in Global Media Yasmina Fayyed sings “Sona, oh Sonson,” in the Hishik Bishik Show. Photo by @foodartconcept, August 16, 2016. Vamping the Archive: Approaching Aesthetics in Global Media CARGC PAPER 8 2018 I am very proud to share CARGC been fully explored and that we feel Paper 8, “Vamping the Archive: are important for the development of Approaching Aesthetics in Glob- global media studies. -
Sounding Sentimental: American Popular Song from Nineteenth-Century Ballads to 1970S Soft Rock Emily Margot Gale Vancouver, BC B
Sounding Sentimental: American Popular Song From Nineteenth-Century Ballads to 1970s Soft Rock Emily Margot Gale Vancouver, BC Bachelor of Music, University of Ottawa, 2005 Master of Arts, Music Theory, University of Western Ontario, 2007 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Music University of Virginia May, 2014 © Copyright by Emily Margot Gale All Rights Reserved May 2014 For Ma with love iv ABSTRACT My dissertation examines the relationship between American popular song and “sentimentality.” While eighteenth-century discussions of sentimentality took it as a positive attribute in which feelings, “refined or elevated,” motivated the actions or dispositions of people, later texts often describe it pejoratively, as an “indulgence in superficial emotion.” This has led an entire corpus of nineteenth- and twentieth-century cultural production to be bracketed as “schmaltz” and derided as irrelevant by the academy. Their critics notwithstanding, sentimental songs have remained at the forefront of popular music production in the United States, where, as my project demonstrates, they have provided some of the country’s most visible and challenging constructions of race, class, gender, sexuality, nationality, and morality. My project recovers the centrality of sentimentalism to American popular music and culture and rethinks our understandings of the relationships between music and the public sphere. In doing so, I add the dimension of sound to the extant discourse of sentimentalism, explore a longer history of popular music in the United States than is typical of most narratives within popular music studies, and offer a critical examination of music that—though wildly successful in its own day—has been all but ignored by scholars. -
ESTUDO LINGUÍSTICOS E LITERÁRIOS Leonardo Da Silva
UNIVERSIDADE FEDERAL DE SANTA CATARINA PÓS-GRADUAÇÃO EM INGLÊS: ESTUDO LINGUÍSTICOS E LITERÁRIOS Leonardo da Silva “A LOSER LIKE ME”: IDENTITY AND AGENCY IN RYAN MURPHY’S GLEE Dissertação submetida ao Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários da Universidade Federal de Santa Catarina para a obtenção do Grau de Mestre em Letras. Orientadora: Profa. Dra. Eliana de Souza Ávila. Florianópolis 2014 Ficha de identificação da obra elaborada pelo autor, através do Programa de Geração Automática da Biblioteca Universitária da UFSC. da Silva, Leonardo "A Loser Like Me": Identity and Agency in Ryan Murphy's 'Glee' / Leonardo da Silva ; orientadora, Eliana de Souza Ávila - Florianópolis, SC, 2014. 66 p. Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós- Graduação em Inglês: Estudos Linguísticos e Literários. Inclui referências 1. Letras. 2. Glee. 3. Identity. 4. Agency. 5. hegemonic representation. I. de Souza Ávila, Eliana. II. Universidade Federal de Santa Catarina. Programa de Pós- Graduação em Inglês: Estudos Linguísticos e Literários. III. Título. Nobody can tell you There's only one song worth singing They may try and sell you 'Cause it hangs them up to see someone like you But you gotta make your own kind of music Sing your own special song Make your own kind of music Even if nobody else sings along (Mama Cass Eliot, “Make your own kind of music”) For all the losers, outcasts, in-betweens, and queers out there. ACKNOWLEDGEMENTS A television series is the result of a collaborative process. It involves creators, directors, writers, actors, editors and, in the case of Glee, singers and musicians (among so many other professionals). -
Thomas Carl Slattery-The Wind Music of Percy Aldridge Grainger Ann Arbor: University Microfilms (UM Order No
Thomas Carl Slattery-The Wind Music of Percy Aldridge Grainger Ann Arbor: University Microfilms (UM order no. 67-9104, 1967. 265 pp., The University ofIowa diss.) David S. Josephson [Ed. Note,' This is the second in a series of writings conceived by Prof. Josephson as an essay in bibliography, seeking to provide the foundation for a thorough and broadly-based study of the life and music of Percy Grainger. The first essay, "Percy Grainger: Country Gardens and Other Curses," can be found in Current Musicology 15 (1973): 56-63.] Percy Grainger composed and arranged music for winds from virtually the beginning to the end of his creative life. The fruits of these labors are the subject, at first glance, of the dissertation under review. In fact, however, Thomas Slattery's thesis is more than a study of the wind music: in both scope and length it is the first major attempt to deal with Grainger's life and work. The wind music provides an apt vehicle, for its remarkable range of idiom, genre, and intention allows us to explore the gamut of Grainger's productive life from almost every angle; the finest exemplars of this repertory reveal most immediately his striking ear and fastidious craftsmanship. In- deed, Grainger's largest essay for winds, Lincolnshire Posy, is a handbook of band orchestration and arguably the most idiomatic and sensitive composi- tion ever written for large wind ensemble. The table of contents reveals both the scale of Dr. Slattery's investigation and its cogent organization. The six chapters include an extended biblio- graphical summary; music for wind band; the chamber music for, with, and arranged for winds; Grainger's wind scoring; his innovations; and a sum- mary of sources. -
Dionysian Symbolism in the Music and Performance Practices of Jimi Hendrix
City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2013 Dionysian Symbolism in the Music and Performance practices of Jimi Hendrix Christian Botta CUNY City College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/205 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Dionysian Symbolism in the Music and Performance Practice of Jimi Hendrix Christian Botta Submitted in partial fulfillment of the requirements for the degree Master of Arts in Musicology At the City College of the City University of New York May 2013 Table of Contents Introduction 1 Chapter One – Hendrix at the Monterey Pop and Woodstock Festivals 12 Chapter Two – ‘The Hendrix Chord’ 26 Chapter Three – “Machine Gun” 51 Conclusion 77 Bibliography 81 i Dionysian Symbolism in the Music and Performance Practice of Jimi Hendrix Introduction Jimi Hendrix is considered by many to be the most innovative and influential electric guitarist in history. As a performer and musician, his resume is so complete that there is a tendency to sit back and marvel at it: virtuoso player, sonic innovator, hit songwriter, wild stage performer, outrageous dresser, sex symbol, and even sensitive guy. But there is also a tendency, possibly because of his overwhelming image, to fail to dig deeper into the music, as Rob Van der Bliek has pointed out.1 In this study, we will look at Hendrix’s music, his performance practice, and its relationship to the mythology that has grown up around him. -
The Music of Gender in Shakespeare's
“HERE I AM … YET CANNOT HOLD THIS VISIBLE SHAPE”: THE MUSIC OF GENDER IN SHAKESPEARE’S TWELFTH NIGHT by Marcus Cheng Chye Tan THE ELUSIVE NATURE OF TWELFTH NIGHT Taken as Shakespeare’s farewell to romantic comedy and written around the same time as Hamlet, Twelfth Night presents a high comedy of elusive complexity that preempts the problem plays. Contesting a “universal consent [that] the very height of gay comedy is attained in Twelfth Night,”1 modern critics note that Twelfth Night possesses “darker” features of the problem plays but, as C. L. Barber suggests in Shakespeare’s Festive Comedy, the play manages to restore the festive through its comic resolution,2 affirming what Jonathan Dollimore terms “the telos of harmonic integration.”3 Elements of “dark tragedy” constantly complicate the “sunny iden- tity of spirit.”4 The gulling of Malvolio is often seen by modern sensibilities as an excessively cruel prank passing into the domain of sadism. The latter’s ignored plea for help while locked in the dark room, exacerbated by Feste’s cruel taunting, becomes a comic joke that proves excessive for the audience.5 In addition, Orsino’s unsettling “murderous” rage and Viola’s swooning acceptance of a love death cause the play to “walk the edge of violence”6 till the arrival of Sebas- tian in Act V. Malvolio’s unresolved vow of vengeance (V.i.376),7 sworn after the union of the lovers, threatens a newly established har- mony, prompting the audience to speculate on his possible return, which could turn comedy into tragedy. -
Protest Music, Urban Contexts and Global Perspectives
B. Kutschke: Protest Music, Urban Contexts IRASM 46 (2015) 2: 321-354 and Global Perspectives Beate Kutschke TU Dresden Institut für Kunst- und Musikwissenschaft August-Bebel-Str. 20 01219 Dresden Protest Music, Urban Germany Contexts and Global E-mail: [email protected] UDC: 78.067 Perspectives Original Scholarly Paper Izvorni znanstveni rad Received: February 13, 2015 Primljeno: 13. veljače 2015. Accepted: May 26, 2015 Prihvaćeno: 26. svibnja 2015. Abstract - Résumé This article argues that urban environments in the 1960s and 1970s provided excellent music-cultural and political conditions that stimulated not only protest, but also the crea- I. 1968 – Urbanism and Globalization tion and performance of protest music. It demonstrates this by means of two case studies. The It is evident that urban environments are good music of the Krautrock band CAN in Cologne and the Volks- cradles for protest. Urban environments are marked ambulanz Concert in West by densification and, therefore, offer what protesters Berlin can be considered as emerging from both cities’ and activists need most: the physical presence of unique political and cultural many people – crowds, masses – who express their situations. These were, para- doxically enough, the long-term dissent and forcefully demand change. These densely results of the reorganization of populated urban areas permit the mobilization not Germany after 1945. Both cities possessed lively avant-garde only of protesters, activists, and sympathizers, but music scenes with musicians also journalists and mass media that disseminate the from all over the world, as well as communal grievances that protesters’ message. Furthermore, compact urban triggered protest and protest neighbourhoods compress diverse, heterogeneous music; West Berlin was addi- tionally marked by its specific lifestyles, opinions and value systems opposed to status as a demilitarized zone each other and, thus, catalyze conflicts into protest and immured city. -
Song-Lyrics.Pdf
Song Lyrics QUIET TIME: SONGS TO SOOTHE AND BOND WITH BABY Listen to relaxation tracks and gentle music on the Montefiore Relaxation Hotline 24 hours a day: 718-920-CALM (2256). Find more tracks online at www.montefiore.org/HealingArts-relaxation 1. TALK THE TALK I don’t need inspiration, or fancy conversation ‘cause everything you’re saying sounds good to me. If you think it sounds absurd to use those baby words, like goo-goo, gah-gah, itty-bitty, say no more. Because, your expression and your way of telling me the things you’re thinking ‘bout, it sounds so sweet. So just talk the talk, and talk to me! You don’t have to say the right thing, or make it sound exciting ‘cause I am just delighting in hearing you. This language that I’m learning has got my wheels turning, so tell me more and keep it short, but real words are good for me. And just your expression and your way of telling me the things we’re doing today, sounds so sweet. So just talk the talk, and talk to me! I don’t need inspiration, or fancy conversation ‘cause everything you’re saying sounds good to me… Just your expression and your way of telling me the things you’re thinking ‘bout, it sounds so sweet, So mami - talk the talk! And papi - talk the talk! Oh yes, talk the talk and talk to me! Talk to me…talk to me…talk to me… 2. THE VOICE I KNOW Birds sing sweetly outside my window, outside my window, outside my window.