Choralities

2016 ◽  
Vol 13 (1) ◽  
pp. 3-23 ◽  
Author(s):  
STEVEN CONNOR
Keyword(s):  
The Political ◽  
Implicit Relation ◽  
Political Force ◽  
Collective Voice ◽  
The Individual ◽  
Individual Voice ◽  
The Voice ◽  
Monty Python

AbstractThe voice has often been identified with the assertion of idiosyncrasy or exception (The Chanting Crowd: ‘We are all individuals!’ An Individual: ‘I'm not.’ Monty Python,The Life of Brian). This article explores why humans (though not uniquely them) feel urged to merge and magnify the individual voice through assimilating it to the voices of others. What are the powers, menaces, and satisfactions of these singular–plural megavoices, in choirs, collective chants, and other forms of what may be calledchorality, that have become more familiar than ever in the mass spectacles (‘audicles’?) of sport, entertainment, and politics? I suggest that the chorus represents the challenge of the inchoate, in that it is the making manifest of what menaces music, the matter that must be made into form, a reservoir of unschooled energy that must be converted to information. I suggest that there may be an implicit relation between the individual voice and the collective voice it may seem to convoke, such that every individual vocality has a connection to a phantasmal chorality. Finally, I consider the political force of chorality, and the fantasy focused on and through the collective voice, and what this means in a world that seems to have moved from the dominion of the mass to that of the multitude.

The Baroque Violin & Viola

2020 ◽  
Author(s):  
Walter S. Reiter
Keyword(s):  
Holistic Approach ◽  
Historical Background ◽  
Successful Performance ◽  
Early Music ◽  
The Past ◽  
Baroque Music ◽  
The Individual ◽  
Individual Voice ◽  
Early Music Revival ◽  
The Voice

The Early Music revival has had far-reaching consequences on how music of the past is performed, both by specialists and non-specialists. This timely book is a practical step-by-step course of lessons for violinists and violists in both these categories, covering the interpretation, technique, culture, and historical background of the Baroque violin repertoire. Written by a violinist and teacher specializing in Baroque music over many years, it guides readers from the basics (how to hold the violin) to Bach, via music from a wide variety of styles. Avoiding obscure musicological jargon, it is eminently readable and accessible. Packed with information, detailed observations on the music under discussion, and relevant quotations from historical and contemporary sources, it covers everything the Baroque violin student should know and may be considered the equivalent of two to three years of individual lessons. The book contains over 100 exercises devised for and tested on students over the years. The author’s holistic approach is evident through the exercises aimed at bringing out the individual voice of each student, and his insistence that what happens within, the identification and manipulation of affects, is a vital part of successful performance. Imitating the voice, both spoken and sung, is a constant theme, beginning with the simple device of playing words. There are fifty lessons, including five Ornamentation Modules and ones on specific topics: temperament, rhetoric, the affects, and so on. All the music, transcribed for both violin and viola, is downloadable from the website, where there is also a series of videos.

scholarly journals Lyrikline

2021 ◽  
pp. 93-99
Author(s):  
Heiko Strunk
Keyword(s):  
Young Adult ◽  
The Internet ◽  
Original Language ◽  
Full Effect ◽  
And Performance ◽  
The Individual ◽  
Individual Voice ◽  
The Voice ◽  
Rhythmic Structures

Artikelbeginn:[English title and abstract below] Der Rhythmus wählt mich und erstrahlt in mirIch bin der Geige Klang, nicht ihr SpielerMahmud Darwish Als literarischer Veranstalter mit Schwerpunkt Poesie hatte die Literaturwerkstatt Berlin, Initiatorin von Lyrikline und 2016 in Haus für Poesie umbenannt, vor 1998 bereits viele überzeugende Erfahrungen mit den ≫Berliner Sommernächten der Lyrik≪ gemacht, sodass von Anfang an klar war, dass Stimme und Vortrag bei unserem Vorhaben eine zentrale Rolle spielen müssen. Als wir anfingen, wollten wir mit Lyrikline eine Anlaufstelle im Internet schaffen, die jedem die Möglichkeit bietet, einfach und unaufwendig mit zeitgenössischer Poesie in Kontakt zu kommen, dieser vermeintlich schwierigen, von vielen respektvoll ignorierten und im Buchladen mit schwindend knappem Platz abgespeisten und zu oft bleischweren Materie. LyriklinePoets on the Internet in Their Own Voices This article is an overview of Lyrikline, a website that presents contemporary German and international poetry in text and sound. Users can hear the poems recited in the poet‘s own voice and can read the poem in the original language and in various translations. About 1,500 poets can be currently heard on the website, all with their individual poetic and poetological characteristics. Those interested in children’s and young adult poetry will find contemporary poems in the category ≫Poetry for Children≪ (under Genres & Aspects). Above all, Lyrikline offers the voice, sound, and performance of the poet and the poem. Aside from this fascinating authenticity, the listener gets to hear beyond the individual voice and timbre of the poet, as the tonal aspects of a poem, the phonetic references and the rhythmic structures become audible. Rhymes, assonances, and alliterations unfold to their full effect, stricter stanza forms reveal their structure audibly, and mood, intensity, and even pathos, may manifest itself. Lyrikline demonstrates why poetry must be heard to be fully appreciated.

On Rhythm: Voice and Relation

2018 ◽  
Vol 15 (3) ◽  
pp. 331-347
Author(s):  
Serge Martin
Keyword(s):  
The Political ◽  
The Subject ◽  
The Individual ◽  
The Voice

I would like to start from a short proposition by Henri Meschonnic in his masterwork Critique du rythme – ‘La voix est relation’1(‘The voice is relation’) – in order to propose a historical and relational anthropology of the voice. Such an anthropology necessarily passes through the poem, as a form of attentiveness building on the poem. Starting from the dialogism of the poem as ‘la position du sujet de l'énonciation et du sujet de la lecture’ (p. 456) (‘the position of the subject of enunciation and of the subject of reading’), and the specific continuity that the poem constructs from the individual to society, from the intimate to the political, we can constitute the voice as a medium favourable to listening to the overflows of meaning in the poem and therefore trans-subjectivations in and through language. My contribution will show the consequences of this anthropological orientation derived from Meschonnic, both in terms of traditional stylistics and postmodern semiotics.

The Tritone Paradox and the Pitch Range of the Speaking Voice: A Dubious Connection

1994 ◽  
Vol 12 (2) ◽  
pp. 227-255 ◽  
Author(s):  
Bruno H. Repp
Keyword(s):  
Individual Differences ◽  
Striking Difference ◽  
Voice Pitch ◽  
Pitch Range ◽  
Significant Difference ◽  
Tritone Paradox ◽  
The Individual ◽  
Individual Voice ◽  
Voice Range ◽  
The Voice

Deutsch and coworkers (Deutsch, 1991; Deutsch, North, & Ray, 1990) have proposed that individual differences in the perception of the "tritone paradox" derive from listeners' reference to a mental pitch template, acquired through experience with the pitch range of their own voice, as well as with the voice ranges typical of their language community. These authors have reported a correspondence between perceptual results and the upper limit of the individual voice range for a small group of selected subjects, as well as a striking difference in tritone perception between American and British listeners. The present study compared groups of Dutch, British, and American listeners on two tritone tests and also collected voice pitch data for the first two groups in a reading task. There was no within-group correlation of perceptual results with individual differences in voice range. Differences in tritone perception as a function of stimulus characteristics (spectral envelope) were much larger than reported by Deutsch, which casts doubt on the notion of stable individual pitch templates. A significant difference between British and American listeners, with the Dutch group in between, was found in one of the two tritone tests but not in the other. Although the origin of this difference remains unclear, it seems unlikely that it has anything to do with regional differences in voice pitch range.

Virginia Woolf and Being-in-the-world

2017 ◽  
Author(s):  
Emma Simone
Keyword(s):  
Virginia Woolf ◽  
Historical Context ◽  
The Political ◽  
Cartesian Dualism ◽  
Self And Other ◽  
The World ◽  
Binary Oppositions ◽  
The Individual ◽  
The Relationship ◽  
Existential Perspective

Virginia Woolf and Being-in-the-world: A Heideggerian Study explores Woolf’s treatment of the relationship between self and world from a phenomenological-existential perspective. This study presents a timely and compelling interpretation of Virginia Woolf’s textual treatment of the relationship between self and world from the perspective of the philosophy of Martin Heidegger. Drawing on Woolf’s novels, essays, reviews, letters, diary entries, short stories, and memoirs, the book explores the political and the ontological, as the individual’s connection to the world comes to be defined by an involvement and engagement that is always already situated within a particular physical, societal, and historical context. Emma Simone argues that at the heart of what it means to be an individual making his or her way in the world, the perspectives of Woolf and Heidegger are founded upon certain shared concerns, including the sustained critique of Cartesian dualism, particularly the resultant binary oppositions of subject and object, and self and Other; the understanding that the individual is a temporal being; an emphasis upon intersubjective relations insofar as Being-in-the-world is defined by Being-with-Others; and a consistent emphasis upon average everydayness as both determinative and representative of the individual’s relationship to and with the world.

The “individual” in Johann Friedrich Overbeck’s and Franz Liszt’s Seven Sacraments

2013 ◽  
Vol 54 (4) ◽  
pp. 339-356
Author(s):  
Dolores Pesce
Keyword(s):  
Nineteenth Century ◽  
Franz Liszt ◽  
Individualized Treatment ◽  
Sacred Art ◽  
The Individual ◽  
Individual Voice ◽  
Emotional Effects ◽  
The Church

In the preface to his Septem sacramenta (1878–1884), Franz Liszt acknowledged its stimulus — drawings completed in 1862 by the German painter J. F. Overbeck (1789–1869). This essay explores what Liszt likely meant by his and Overbeck’s “diametrically opposed” approaches and speculates on why the composer nonetheless acknowledged the artist’s work. Each man adopted an individualized treatment of the sacraments, neither in line with the Church’s neo-Thomistic philosophy. Whereas the Church insisted on the sanctifying effects of the sacraments’ graces, Overbeck emphasized the sacraments as a means for moral edification, and Liszt expressed their emotional effects on the receiver. Furthermore, Overbeck embedded within his work an overt polemical message in response to the contested position of the pope in the latter half of the nineteenth century. For many in Catholic circles, he went too far. Both works experienced a problematic reception. Yet, despite their works’ reception, both Overbeck and Liszt believed they had contributed to the sacred art of their time. The very individuality of Overbeck’s treatment seems to have stimulated Liszt. True to his generous nature, Liszt, whose individual voice often went unappreciated, publicly recognized an equally individual voice in the service of the Church.

Voice of Protest in Nepali Poetry by Women

2020 ◽  
Vol 10 ◽  
pp. 51-62
Author(s):  
Indira Acharya Mishra
Keyword(s):  
Gender Roles ◽  
The Political ◽  
Feminine Gender ◽  
Theoretical Support ◽  
Norms And Values ◽  
Female Foetus ◽  
Nepali Women ◽  
Female Poets ◽  
The Voice ◽  
Feminine Gender Roles

This article explores feminist voice in selected poems of four Nepali female poets. They are: "Ma Eutā Chyātieko Poshtar" ["I, a Frayed Poster"] by Banira Giri, "Pothī Bāsnu Hudaina" ["A Hen Must not Crow"] by Kunta Sharma,"Ma Strī Arthāt Āimai"["I am a Female or a Woman"] by Seema Aavas and "Tuhāu Tyo Garvalai" ["Abort the Female Foetus"] by Pranika Koyu. In the selected poems they protest patriarchy and subvert patriarchal norms and values that trivialize women. The tone of their poems is sarcastic towards male chauvinism that treats women as a second-class citizen. The poets question and ridicule the restrictive feminine gender roles that limit women's opportunity. To examine the voice of protest against patriarchy in the selected poems, the article takes theoretical support from French feminism, though not limited to it. The finding of the article suggests that Nepali women have used the genre to the political end, as a medium to advocate women's rights.

Indian and Russian Tolstoy: one among strangers and a stranger among one’s

2021 ◽  
pp. 27-35
Author(s):  
Svetlana M. Klimova ◽  
Keyword(s):  
The Other ◽  
The Political ◽  
Political Sphere ◽  
Indian Thought ◽  
Russian State ◽  
Lev Tolstoy ◽  
The One ◽  
The Voice ◽  
The Church ◽  
Peculiar Phenomenon

The article examines the phenomenon of the late Lev Tolstoy in the context of his religious position. The author analyzes the reactions to his teaching in Russian state and official Orthodox circles, on the one hand, and Indian thought, on the other. Two sociocultural images of L.N. Tolstoy: us and them that arose in the context of understanding the position of the Russian Church and the authorities and Indian public and religious figures (including Mahatma Gandhi, who was under his influence). A peculiar phenomenon of intellectually usL.N. Tolstoy among culturally them (Indian) correspondents and intellectually them Tolstoy among culturally us (representatives of the official government and the Church of Russia) transpires. The originality of this situation is that these im­ages of Lev Tolstoy arise practically at the same period. The author compares these images, based on the method of defamiliarisation (V. Shklovsky), which allows to visually demonstrate the religious component of Tolstoy’s criticism of the political sphere of life and, at the same time, to understand the psychological reasons for its rejection in Russian official circles. With the methodological help of defamiliarisation the author tries to show that the opinion of Tolstoy (as the writer) becomes at the same time the voice of conscience for many of his con­temporaries. The method of defamiliarisation allowed the author to show how Leo Tolstoy’s inner law of nonviolence influenced the concept of non­violent resistance in the teachings of Gandhi.

Philosophy for Millions and Millions of Philosophers

2021 ◽  
Vol 32 (4) ◽  
pp. 91
Author(s):  
Alexander Rubtsov
Keyword(s):  
Carl Schmitt ◽  
The Political ◽  
Individual Subject ◽  
Intellectual Activity ◽  
Closed Type ◽  
Ideological Struggle ◽  
Binary Oppositions ◽  
The Individual ◽  
The Relationship ◽  
Internal Speech

In the article, the relationship between the highest professional specialization of philosophy and its involvement in the realities of everyday life consciousness, collective and individual, are considered. Karl Jaspers defines philosophy precisely through the natural need and ability of human being as such, from the piercing questions of children to the revelations of anomalous geniuses. Great philosophers only concentrate this sleeping ability in a person to see the world directly and every time anew. Rightly considered the most closed type of intellectual activity, philosophy at the same time provides examples of live communication and direct appeal to people and society.  The fact that each of us is the bearer of philosophical ideas (whether we are aware of it or not) leads to the problem of ideology. By analogy with the constitution of the political by Carl Schmitt through the opposition "friend — enemy", ideology is constituted by the opposition of "faith — knowledge" in a single continuum between the poles of "almost religion" and "almost philosophy". If ideology asserts the non-obvious as obvious, then the mission of philosophy is a systematic criticism of the obvious.  This conflict manifests itself both in society and in the consciousness of an individual.  The classic understanding of ideology as a purely external manipulation (“consciousness for the Other”) is challenged by the presence in the consciousness of the individual subject of “internal dialogue” and “internal speech” with the effects of ideological work and ideological struggle with oneself (the individual as a micromodel of society and the state).  Postmodern all the more accentuates the non-professional dimension of philosophy by rejecting the schemes of progress and hierarchy, the logic of binary oppositions, including high and low, center and marginal, specialized and amateur.  The ability to reflect is the most important feature of a sovereign personality in its resistance to the "penetrating" ideology and new mythology, degrading to intellectual barbarism and political savagery.

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