PDF Surrogate Languages and the Grammar of Language-Based Music Download
- Author: Yoad Winter
- Publisher: Frontiers Media SA
- ISBN: 2889747166
- Category : Science
- Languages : en
- Pages : 181
What does it mean to be expressive in music performance across diverse historical and cultural domains? What are the means at the disposal of a performer in various time periods and musical practice conventions? What are the conceptualisations of expression and the roles of performers that shape expressive performance? This book brings together research from a range of disciplines that use diverse methodologies to provide new perspectives and formulate answers to these questions about the meaning, means, and contextualisation of expressive performance in music. The contributors to this book explore expressiveness in music performance in four interlinked parts. Starting with the philosophical and historical underpinnings crucially relevant for Western classical musical performance it then reaches out to cross-cultural issues and finally focuses the attention on various specific problems, including the teaching of expressive music performance skills. The overviews provide a focussed and comprehensive account of the current state of research as well as new developments and a prospective of future directions. This is a valuable new book for those in the fields of music, music psychology, and music education.
Although African literatures in English and French are widely known outside Africa, those in the African languages themselves have not received comparable attention. In this book a number have been selected for survey by fourteen specialist writers, providing the reader with an introduction to this very wide field and a body of reference material which includes extensive bibliographies and biographical information on African authors. Theoretical issues such as genre divisions are discussed in the essays and the historical, social and political forces at work in the creation and reception of African literature are examined. Literature is treated as an art whose medium is language, so that both the oral and written forms are encompassed. This book will be of value not only to readers concerned with the cultures of Africa but to all those with an interest in the literary phenomena of the world in general.
A Companion to Linguistic Anthropology provides a series of in-depth explorations of key concepts and approaches by some of the scholars whose work constitutes the theoretical and methodological foundations of the contemporary study of language as culture. Provides a definitive overview of the field of linguistic anthropology, comprised of original contributions by leading scholars in the field Summarizes past and contemporary research across the field and is intended to spur students and scholars to pursue new paths in the coming decades Includes a comprehensive bibliography of over 2000 entries designed as a resource for anyone seeking a guide to the literature of linguistic anthropology
Relationships of speech tone and music have been intriguing me since my early studies in ethnomusicology and linguistics. Conducting fieldwork in Botswana in 1997 brought me in contact with a Bantu tone language of two tones, but in those days I had neither a matching methodology nor linguistic records that would have allowed me to focus on their relationship to singing and music – a recurring situation that is mentioned, among others, in Catherine Ingram’s contribution. The chance to participate in a DoBeS project in Upper Assam, India, documenting endangered Tai and Tibeto-Burman languages (isolating tone languages with contour tone) with project leader linguist Stephen Morey was a welcome challenge that taught me about the spectrum of possible relationships between speech tone and musics across different cultures. The “Workshop Relationships of Speech Tone and Music” in Vienna in 2012 developed out of the discourse between Stephen Morey and myself, and has become an important mile stone in what I see as an interdisciplinary basic research endeavour. Volumes dealing with this topic in a comparative way have previously been published, for example Thomas A. Sebeok & Donna Jean Umiker-Sebeok (1976) or Bonnie Wade (1993), but none of them targeted it as directly as the present one. The most valuable bibliography on the relation of speech tone and music is currently maintained online by Murray Schellenberg (2013); I had the pleasure of contributing a few items irregularly in the past.
Roman Jakobson gave a literary translation of the double words and concepts of poetical hyper translation. Language can transmit verbal translation to explore new ways of thinking about music and other arts. Thomas A. Sebeok deconstructed the energy of translation into the duplicated genres of artistic transduction. In semiotics, transduction is a technical expression involving music, theater, and other arts. Jakobson used Saussure’s theory to give a single meaning in a different art but with other words and sounds, later followed by Peirce’s dynamic energy with a floating sensation of the double meaning of words and concepts. For semiotician Peirce, literary translation becomes the graphical vision of ellipsis, parabole, and hyperbole. Ellipsis is illustrated by Virginia Woolf’s novel The Waves to give a political transformation of Wagner’s opera Das Rheingold. Parabole is illustrated by the two lines of thought of Hector Berlioz. He neglected his own translation of Virgil’s Aeneid, when he retranslated the vocal text to accompany the musical lyrics of his opera The Trojans. Hyperbole is demonstrated by Bertold Brecht’s auto-translation of Gay’s The Beggar’s Opera. In the cabaret theater of The Three penny Opera, Brecht recreated his epic hyper-translation by retranslating the language of the folk speech of the German working classes with the jargon of criminal slang.