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Journal Article
Qui Parle (2004) 14 (2): 117–143.
Published: 01 December 2004
...Brian Kane THE ELUSIVE "ELEMENTARY ATOM OF MUSIC" Brian Kane it is self-evident that nothing concerning art is self-evident any- more, not its inner life, not its relation to the world, not even its right to exist Adorno's famous opening sentence especially applies to the field...
Journal Article
Qui Parle (2004) 15 (1): 169–174.
Published: 01 June 2004
...Brian Kane BOOK REVIEW Tia DeNora, After Adorno: Rethinking Music Sociology Cambridge: Cambridge University Press, 2003. 176 pages, $23 (paperback) "To speak of the sociology of music is to perpetuate a notion of music...
Journal Article
Qui Parle (2004) 14 (2): 177–204.
Published: 01 December 2004
...David Copenhafer INVISIBLE MUSIC (ELLISON)' David Copenhafer In music what is at stake is not meaning, but gestures. To the extent that music is language, it is, like nota- tion in music history, a language sedimented from...
Journal Article
Qui Parle (2012) 21 (1): 263–278.
Published: 01 June 2012
...Robert Alford Copyright © 2012 Qui Parle 2012 REVIEW ESSAY Fighting the “Culture of Certainty” A Review of Wendy Gay Pearson and Susan Knabe’s Zero Patience: A Queer Film Classic robert alford John Greyson’s musical Zero Patience (1993) is provocatively, playfully...
Journal Article
Qui Parle (2012) 21 (1): 3–69.
Published: 01 June 2012
...Simon Porzak Copyright © 2012 Qui Parle 2012 Zerbinetta’s Laughter An Introduction to the Marginality of Song simon porzak “If you once begin, sir,” added the cheerful Pedgift, “you’ll fi nd it get uncommonly easy as you go on. Music is a science which requires to be taken...
Journal Article
Qui Parle (2004) 14 (2): 145–175.
Published: 01 December 2004
... meditations on musical instances where the conditions of listening are altered, not only because of the formal nature (compositional and/or performative) of certain musical pieces, but also as a result of social-historical relations and practices. I consider the problem of listening less a matter...
Journal Article
Qui Parle (2012) 21 (1): 203–234.
Published: 01 June 2012
... and music theater, concentrating on the specifi c questions raised by the staging of the voice. This integrative vision was realized in Ta Opera Zuta’s 2011 performance of the opera, which can be viewed in its entirety on YouTube at httpyoutu.be/l2bIXCoFQUg. Thanks to European American Music...
Journal Article
Qui Parle (2012) 21 (1): 85–105.
Published: 01 June 2012
... of ballet, spoken dialogue, and song, Cambert’s work in fi ve acts is widely considered a forerunner of French opera. Although little of it survives beyond the libretto and the music of the prologue and fi rst act, the event inspired one spectator to comment on the audience’s response.1 Titled...
Journal Article
Qui Parle (2012) 21 (1): 235–261.
Published: 01 June 2012
... in your work is your attention to the particular and peculiar material forms that surround your subjects ostensibly as supplements—Jackie’s hair, for instance, or the exact color palettes that are found in ho- tels. In the case of music, of course, this materiality is somewhat different...
Journal Article
Qui Parle (2012) 21 (1): 151–184.
Published: 01 June 2012
... of “original” and “copy” in the realm of gender theory, in the realm of music and the history of the cover song these terms carry indisputable and sometimes material signifi cance, such that probing the relationship between “original” and “copy” results in sharp distinctions rather...
Journal Article
Qui Parle (2012) 21 (1): 279–281.
Published: 01 June 2012
... Copyright © 2012 Qui Parle 2012 Contributors robert alford is a doctoral candidate in fi lm and media at the Univer- sity of California, Berkeley. His dissertation is an intermedial, transhistor- ical exploration of the musical genre that considers how the various me- diated forms...
Journal Article
Qui Parle (2004) 14 (2): 213–214.
Published: 01 December 2004
... NOTES ON CONTRIBUTORS DAVID COPENHAFER received his Ph.D. in Comparative Literature from the University of California at Berkeley in the Spring of 2004. He is currently a Mellon postdoctoral fellow in the Music Department at the University of Pennsylvania. TODD CRONAN...
Journal Article
Qui Parle (2003) 14 (1): 21–47.
Published: 01 June 2003
... music technology du jour: the piano roll machine.2 The question at hand was whether or not a piano roll constituted a "copy" of the sheet music that it played. If so, copy- right owners could enjoin unauthorized piano rolls of the songs for which they.owned the copyright. If not, piano roll...
Journal Article
Qui Parle (2004) 15 (1): 175–176.
Published: 01 June 2004
...- rently writing a book on averageness and mediocrity. BRIAN KANE is a Ph.D. Candidate in Music Composition at the University of California at Berkeley. He has written solo, cham- ber and vocal works in addition to electronic music. He is cur- rently composing...
Journal Article
Qui Parle (2012) 21 (1): 71–83.
Published: 01 June 2012
... bivalence of the term is emphasized once more, as pho¯ne¯ can equally mean the emitted sound, specifi cal- ly in its discrete articulations (the letters), and the total phenomenon of the sound’s emission and production. This also pertains, in the Greek language, to the case of musical...
Journal Article
Qui Parle (2021) 30 (1): 223–224.
Published: 01 June 2021
... & fields of heartache recede as the space before me turns social blur the night’s weatherless disruption the night’s letterless dysfunction pneumatic purr of the breathing machine I heard & saw my sister use through childhood episodes structuring breath music does this too only flightlessly...
Journal Article
Qui Parle (2017) 26 (2): 249–269.
Published: 01 December 2017
...Avital Ronell Copyright © 2018 Editorial Board, Qui Parle 2018 . . . A period of mourning has kept me away from music, so my head fills with static bombs instead. I usually like to work with some sort of sonic signature. A subtle incentive laying down a basic beat, musical accompaniment...
Journal Article
Qui Parle (2010) 19 (1): 1–8.
Published: 01 June 2010
... in Institutions of Music, Pythagoras “put no credence in them,” since the ears, being bodily parts like all others, are subject to incessant change.1 Sometimes they vary on account of external and accidental circumstances; sometimes they begin to differ by necessity, as when they age. Pythagoras could...
Journal Article
Qui Parle (2020) 29 (1): 65–94.
Published: 01 June 2020
... it must incorporate or take into account what we could call a sense of bewilderment inherent in any encounter with art forms: Its enigmaticalness may in an elementary fashion confirm the so-called unmusical, who does not understand the “language of music,” hears nothing but nonsense, and wonders what...
Journal Article
Qui Parle (2004) 15 (1): 97–114.
Published: 01 June 2004
... misses the mark. Much more is at stake, for only in the realm of lyric poetry does this surprising elective affinity surface. With respect to music, prose, and drama, the representative names that form Adorno's canon are all but restorative: Schonberg, Kafka, and Beckett. Adorno's emphatic...