THEA MUSGRAVE (b. 1928)A Suite o’Bairnsangs (1953)

2020 ◽  
pp. 219-221
Author(s):  
Jane Manning
Keyword(s):  
English Translation ◽  
Thea Musgrave ◽  
The Voice

This chapter discusses Thea Musgrave's settings of nursery rhymes from her native Scotland. The poems are aptly projected, in music of an approachable style, with some rhythmic quirks, all in an unmistakeably Scottish vein. A young and relatively inexperienced singer will feel happy and comfortable performing them, and should relish the challenge of enunciating the dialect words. For the faint-hearted, however, the author has made a straight English translation, but this could perhaps diminish the bracing effect of the piece. The composer has set the Scottish words meticulously, so some of the translations do not roll off quite so easily in the voice. Moreover, a light, clear tone is appropriate for the infectious, dancing lines, and there is plenty of contrast in mood and tempo, making it a beautifully balanced item for a recital.

scholarly journals Charles Hall, Early English Socialist

1976 ◽  
Vol 21 (2) ◽  
pp. 256-276 ◽  
Author(s):  
J. R. Dinwiddy
Keyword(s):  
English Translation ◽  
Industrial Revolution ◽  
Surplus Value ◽  
History Of ◽  
The Right ◽  
Early English ◽  
The Voice ◽  
Early Formulation

Charles Hall's importance has been recognized by a number of scholars. He has been described by C. R. Fay as “the first of the early socialists”, and by Mark Blaug as “the first socialist critic of the industrial revolution”. According to Max Beer he provided “the first interpretation of the voice of rising Labour”, and Anton Menger regarded him as “the first socialist who saw in rent and interest unjust appropriations of the return of labour, and who explicitly claimed for the worker the undiminished product of his industry”.2Menger, in his bookThe Right to the Whole Produce of Labour(first published in German in 1886), devoted three or four pages to Hall and drew attention to his early formulation of the theory of surplus value. Since then there have been several discussions of Hall's work, but almost without exception they have been quite brief: perhaps the most notable are those provided by H. S. Foxwell in his introduction to the English translation of Menger, and by Beer in hisHistory of British SocialismH. L. Beales, who also wrote a few pages about him in his bookThe Early English Socialists, lamented some twenty years ago that Hall (in common with several other pioneers of socialism and democracy in Britain) had not yet found a biographer. In fact it seems unlikely, owing to the paucity of material, that a biography will ever be possible. But it is nonetheless surprising that Hall has received so little individual attention; and the author of a recent summary of his ideas (again in the context of a general history of socialism) could describe him as “ce précurseur quelque peu oublie”. It appears that an essay may usefully be written drawing together what is known about him and attempting a fuller examination of his writings than has been provided hitherto.

scholarly journals The Voice and the Gaze as ‘objet petit a’

2021 ◽  
Vol 13 (4) ◽  
Author(s):  
Utsav Banerjee ◽  
Keyword(s):  
English Translation ◽  
Symbolic Order ◽  
The Real ◽  
The Gaze ◽  
Objet Petit A ◽  
The Subject ◽  
The Voice ◽  
Lost Object

Repression of the Real is a function of the coming-into-being of the Symbolic Order. That which is repressed resurfaces in the Symbolic, thereby threatening its order. What resurfaces is the non-repressible remainder, an excess that can neither be conceptualized nor can be eliminated. This remainder of the Real is what Lacan refers to as objet petit a or simply objet a. Objet is French for object, petit is French for small, and a is the first letter in the French autre, meaning other. In casual English translation, therefore, the objet a is essentially the small other. For Lacan, the objet a is a signifier of the Real that is lost in the process of symbolic constitution of the subject which resurfaces in the Symbolic Order. Its name is a misnomer in that it is not an object at all. It is rather a non-object because what is originarily lost is nothing—the original loss or the lost object is only a retroactive construction. And it is this loss that becomes the cause of desire, precisely because of the fact as a loss/lack it provides the necessary immaterial basis for desire—we desire what we have lost or currently lack. In other words, objet a is the object-cause of desire. It is equivalent of the partial object in Freud. Freud speaks of three partial objects—namely, breasts, faeces, and phallus; in Lacan, we find two more—namely, the voice and the gaze. This paper examines the voice and the gaze as objet a in Lacan.

Public School Voice Clinics, Part I

1984 ◽  
Vol 15 (1) ◽  
pp. 51-57
Author(s):  
Sandra Q. Miller ◽  
Charles L. Madison
Keyword(s):  
Public School ◽  
School District ◽  
Voice Disorders ◽  
Urban School ◽  
Urban School District ◽  
Local School District ◽  
Local School ◽  
Perceived Need ◽  
The Voice ◽  
Voice Problem

The purpose of this article is to show how one urban school district dealt with a perceived need to improve its effectiveness in diagnosing and treating voice disorders. The local school district established semiannual voice clinics. Students aged 5-18 were referred, screened, and selected for the clinics if they appeared to have a chronic voice problem. The specific procedures used in setting up the voice clinics and the subsequent changes made over a 10-year period are presented.

Hormone Replacement Therapy and Voice

2019 ◽  
Vol 4 (4) ◽  
pp. 607-614
Author(s):  
Jean Abitbol
Keyword(s):  
Replacement Therapy ◽  
Symptom Severity ◽  
Low Dose ◽  
Hormone Replacement ◽  
Clinical Signs ◽  
Female Voice ◽  
Fat Cells ◽  
High Pitch ◽  
Endocrine Effects ◽  
The Voice

The purpose of this article is to update the management of the treatment of the female voice at perimenopause and menopause. Voice and hormones—these are 2 words that clash, meet, and harmonize. If we are to solve this inquiry, we shall inevitably have to understand the hormones, their impact, and the scars of time. The endocrine effects on laryngeal structures are numerous: The actions of estrogens and progesterone produce modification of glandular secretions. Low dose of androgens are secreted principally by the adrenal cortex, but they are also secreted by the ovaries. Their effect may increase the low pitch and decease the high pitch of the voice at menopause due to important diminution of estrogens and the privation of progesterone. The menopausal voice syndrome presents clinical signs, which we will describe. I consider menopausal patients to fit into 2 broad types: the “Modigliani” types, rather thin and slender with little adipose tissue, and the “Rubens” types, with a rounded figure with more fat cells. Androgen derivatives are transformed to estrogens in fat cells. Hormonal replacement therapy should be carefully considered in the context of premenopausal symptom severity as alternative medicine. Hippocrates: “Your diet is your first medicine.”

In the Limelight: The Voice Virtuoso

ASHA Leader ◽  
2014 ◽  
Vol 19 (2) ◽  
pp. 22-23
Author(s):  
Kellie Rowden-Racette
Keyword(s):  
The Voice

Modeling the Fundamental Frequency of the Voice

1982 ◽  
Vol 27 (9) ◽  
pp. 690-692 ◽  
Author(s):  
Janet Pierrehumbert ◽  
Mark Liberman
Keyword(s):  
Fundamental Frequency ◽  
The Voice
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