Search Results for vocal

...Adriana Cavarero Copyright © 2012 Qui Parle 2012 The Vocal Body Extract from A Philosophical Encyclopedia of the Body adriana cavarero Translated by Matt Langione The following essay previously appeared in French as an entry in a Dic- tionnaire du corps published by PUF in 2007...

...Mara Mills Copyright © 2012 Qui Parle 2012 Media and Prosthesis1 The Vocoder, the Artifi cial Larynx, and the History of Signal Processing mara mills Vocal Codes American Telephone and Telegraph (AT&T) com- memorated the twenty- fi fth anniversary of the fi rst...

... frequently re-recorded by white artists who bleached out the threatening blackness from the vocals and sanitized the lyrics while appropriating the rhyth- mic vigor, melodic inventiveness, and potential market share of the originals.5 As radio audiences and the music industry...

... that the absence of the symbolic phallus has left behind. To the extent that it lends itself to various forms of cutting, voice is apt to function as an object within certain fantasy confi gu- rations. In the vocal medium, the continuity of timbre is compat- ible with variations in intensity and pitch...

... of style—both vocal and sartorial—between its episodes, making an attunement to vocal particularity in the singing voice necessary for the viewer. That is, it isn’t plot, as we would commonly think, that ties the narrative arc of the show together: structurally, this func- tion...

..., chamber and vocal works in addition to electronic music. He is current- ly composing an orchestral piece and writing a monograph on musical aesthetics and materialism. JACQUES RANCIERE is Professor of Philosophy at the University of Paris, VIII. He...

... magazine on the average (#15) and is cur- 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...

... Zuta. Her publications include Vocal Appari- tions: The Attraction of Cinema to Opera (Princeton, 2005) and Operatic Afterlives (Zone, 2011). Her current book-length project revolves around the question of the voice in directing opera. wayne koestenbaum has published fi...

... again. Edward Said once characterized Conrad as a writer who “wished to say something very clearly.”16 That epistemological predicament was equally vocal and clings to Conrad’s attention to his own ac- quisition of English in his memoir of becoming a writer, A Personal Record (1912). While...

... not yet happened, or were continually waiting to fl ower. sp: In your liner notes to the recording of Jackie O, you pro- claim “May operatic vocalism illuminate the underseam of Ameri- can fantasy.”6 Now, opera has been, at various times in its history, 244 qui parle fall/winter 2012 vol.21...

... jazz era (see Figure 1). The band runs through the song twice, first as an instrumen- tal, a second time with vocals. During the instrumental first half, the melody rises towards C, what could be called the pivotal note of the entire composition. When Armstrong begins to sing, he does...

... pushes toward off places and times off. Similar and dissimilar at once. For the mute idiot will never speak himself to prove that he is a speaking being. It is only the writer who takes it upon himself to expound the totality of time, injustice, and sorrow “becom[ing] vocal for an instant.” Political...

... for itself without recourse to the limits of linguistic expression or the need to “synchronize” its movements to specifi c vocalizations), sound fi lm brings constraint. This is true for Stalinism and socialist realist discourse, but we can also see it as applicable to sound cinema...

... of the more expedient constructions of early modern vocality.6 Erlmann: Refi guring the Early Modern Voice 87 One such construction, for instance, is the notion that the era witnessed the triumph of a new nexus between music, the ear, and a modern form of subjectivity based...

... that the public sphere is not solely constituted by written or vocalized discourse but also encompasses embodied and mediated actions. It is the public appearance of the masses itself that comes to express the popular will, making present silent demands for a transient moment. While Butler discusses...

..., direct speech, the free indirect style merges narrative language—almost imperceptibly—with the interior thought or externalized vocalizations of a character. Beginning in the 1960s, Pier Paolo Pasolini, Gilles Deleuze, and others applied the free indirect to the cinema, encouraged by the shared temporal...

... Stanford Institute for Creativity and the Arts, founded in 2006 in response to increasingly vocal student demand and administra- tion response, has the provost’s mandate to provide fellowship and grant money—the 2011 theme is “Sustainability”—without direct consultation with the home departments...

...” in which the characters act. Essen- tially, Der Jasager has no characters in the operatic sense, since no one is given particular vocal or musical characterizations. Instead the scenes, each only several minutes long, are bound around musi- cal and gestural axes...

... the exposition of Mozart's F Major Sonata, K. 332:20 in a span of just over seventy bars, Mozart includes a four measure phrase in a simple vocal style answered by its parody in a learned contrapuntal setting; ten measures of hunt calls; a Sturm und Drang transition...

... the circular arguments that involve tracing the oral in the written, we have much to gain when we see the voices record- ed in alphabetical texts not as a trace of an oral culture (whatever that would be) but as the use of the alphabet to record a wide range of vocal types, both internal...