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These two volumes offer a selection of the papers held at the conference of the International Association for Dialogue Analysis (IADA) in 2003. Volume I contains 38 articles devoted to dialogue and the phenomenon of 'dialogicity' in literature, ranging from antiquity to a large number of modern languages and literatures. The conversation-analytic approaches drawn upon are notable for their methodological diversity. This is also true of the 32 articles in Volume II. The main focus here is on present-day types of dialogue in the new electronic media and their 'traditional' counterparts (press, radio, television, film). The examples are taken from various countries, and they are discussed in terms of the intercultural, semiotic, translatorial, and general pragmatic issues they pose.
This book has its origin in a letter. In November of 1959, the late Prof. Dr. WERNER MEYER-EpPLER wrote to me, asking if I would contribute to a series he was planning on Communication. His book " Grundlagen und Anwendungen der Informationstheorie" was to serve as the initial volume of the series. After protracted consideration, I agreed to undertake the job provided it could be done outside my regular duties at the Bell Telephone Laboratories. Shortly afterwards, I received additional responsibilities in my research organization, and felt that I could not conveniently pursue the manuscript. Consequently, except for the preparation of a detailed outline, the writing was delayed for about a year and a half. In the interim, Professor MEYER-EpPLER suffered a fatal illness, and Professors H. WOLTER and W. D. KEIDEL assumed the editorial re sponsibilities for the book series. The main body of this material was therefore written as a leisurc time project in the years 1962 and 1963. The complete draft of the manuscript was duplicated and circulated to colleagues in three parts during 1963. Valuable comments and criticisms were obtained, revisions made, and the manuscript submitted to the publisher in March of 1964. The mechanics of printing have filled the remaining time. If the reader finds merit in the work, it will be owing in great measure to the people with whom I have had the good fortune to be associated.
By integrating theoretical approaches to the female voice with the musicological investigation of female singers’ practices, the contributors to this volume offer fresh viewpoints on the material, symbolic and cultural aspects of the female voice in the twentieth century. Various styles and genres are covered, including Western art music, experimental composition, popular music, urban folk and jazz. The volume offers a substantial and innovative appraisal of the role of the female voice from the perspective of twentieth-century performance practices, the centrality of female singers’ experimentations and extended vocal techniques along with the process of the ‘subjectivisation’ of the voice.
Developed by Jean-Paul Benzerci more than 30 years ago, correspondence analysis as a framework for analyzing data quickly found widespread popularity in Europe. The topicality and importance of correspondence analysis continue, and with the tremendous computing power now available and new fields of application emerging, its significance is greater
Naslagwerk van de liedkunst en de literatuur hierover.
This collection of essays provides vivid new insights into Poulenc‘s world, his particular rapport with painters, writers and fellow musicians, and with the socialte who promoted his music through their salons. Contributions from international Poulenc scholars include the influence of various artists on his music, the nature of his affinity for Eluards poetry, his response to texts by Cocteau and Bernanos, and his constant search for suitable libretti. New light is thrown on two friendships, the first with his childhood friend Raymonde Linossier who introduced him to the world of books, the second to his teacher Charles Koechlin who greatly influenced his choral style. A detailed study is also provided of Poulenc‘s four choral works with orchestra. Finally, the reader is allowed a rare view of Poulenc at the microphone, not as interviewee but as radio presenter, in his 1947-1949 series of programmesA bâtons rompus.
As the status of poetry became less and less certain over the course of the nineteenth century, poets such as Baudelaire and Mallarmé began to explore ways to ensure that poetry would not be overtaken by music in the hierarchy of the arts. Helen Abbott examines the verse and prose poetry of these two important poets, together with their critical writings, to address how their attitudes towards the performance practice of poetry influenced the future of both poetry and music. Central to her analysis is the issue of 'voice', a term that remains elusive in spite of its broad application. Acknowledging that voice can be physical, textual and symbolic, Abbott explores the meaning of voice in terms of four categories: (1) rhetoric, specifically the rules governing the deployment of voice in poetry; (2) the human body and its effect on how voice is used in poetry; (3) exchange, that is, the way voices either interact or fail to interact; and (4) music, specifically the question of whether poetry should be sung. Abbott shows how Baudelaire and Mallarmé exploit the complexity and instability of the notion of voice to propose a new aesthetic that situates poetry between conversation and music. Voice thus becomes an important process of interaction and exchange rather than something stable or static; the implications of this for Baudelaire and Mallarmé are profoundly significant, since it maps out the possible future of poetry.
The Muse has long been figured as a divine or erotically alluring consort to the virile male artist, who may inspire him or lead him to the edge of madness. This book explores the changing cultural expressions of the relationship between the male artist with a beloved, imagined or desired Muse, to offer new and penetrating perspectives on musical representations and transformations of creative masculine subjectivity, and important aspects of the shift from the styles and aesthetics of Romantic Idealism to Modernist Anxiety in music of the nineteenth and twentieth centuries. Each of the chapters begins with explorations into male artists' relationships with their Muse, and moves to analysis and interpretation which uncovers cultural constructions of masculine artistic inspiration and production, and their association with creatively inspiring and erotically charged relationships with a Muse. New insights are offered into the musical meaning and cultural significance of selected works by Rossini, Beethoven, Chopin, Liszt, Schumann, Wagner, Sibelius, Mahler, Bartók, Scriabin, Szymanowski, Debussy, Berg, Poulenc and Weill.
Divided into three sections, Linda Phyllis Austern collects eighteen, cross-disciplinary essays written by some of the most important names in the field to look at this stimulating topic. The first section focuses on the cultural and scientific ways in which music and the sense of hearing work directly on the mind and body. Part Two investigates how music works on the socially constructed, representational or sexualized body as a means of healing, beautifying and maintaining a balance between the mental and physical. Finally, the book explores the action of music as it is heard and sensed by wider social units, such as the body politic, mass communication, from print to sound recording, and broadcast technologies.