The Breath of a Poem

2017 ◽  
Author(s):  
Christopher Grobe
Keyword(s):  
Allen Ginsberg ◽  
Confessional Poetry ◽  
Live Performance ◽  
Robert Lowell ◽  
Konstantin Stanislavsky ◽  
Method Acting ◽  
Lee Strasberg ◽  
A Performance

Today, we may know confessional poetry as a set of texts that are printed in books, but in its time it was also a performance genre. This chapter demonstrates how the performance of poems—in the privacy of the poet’s study, at public poetry readings, and in the studios of recorded literature companies—shaped this genre, determined its tactics, and influenced its style. An extended comparison of Robert Lowell and Allen Ginsberg shows that breath was a key medium for confessional poets, and a study of Anne Sexton’s career—both on the page and at the podium—shows how she “breathed back” dead poems in live performance. Throughout, this chapter focuses on the feelings of embarrassment confessional poetry raised, and the uses to which poets could put such feelings. It also highlights contemporary trends in “performance” and their impact on confessional poets—e.g., Anne Sexton’s debt to the acting theories of Konstantin Stanislavsky and to Method acting as theorized by American director Lee Strasberg.

scholarly journals Pensato: A Virtual Reality Framework for Musical Performance

2021 ◽  
Author(s):  
◽  
Byron Mallett
Keyword(s):  
Virtual Reality ◽  
Musical Performance ◽  
Hand Tracking ◽  
Spatial Awareness ◽  
Live Performance ◽  
Input Devices ◽  
Music Software ◽  
Physical Gestures ◽  
Stereoscopic Rendering ◽  
A Performance

<p>This thesis presents the design for a method of controlling music software for live performance by utilising virtual reality (VR) technologies. By analysing the performance methods of artists that use either physical or gestural methods for controlling music, it is apparent that physical limitations of musical input devices can hamper the creative process involved in authoring an interface for a performance. This thesis proposes the use of VR technologies as a central foundation for authoring a unique workspace where a performance interface can be both constructed and performed with. Through a number of design experiments using a variety of gestural input technologies, the relationship between a musical performer, interface, and audience was analysed. The final proposed design of a VR interface for musical performance focuses on providing the performer with objects that can be directly manipulated with physical gestures performed by touching virtual controls. By utilising the strengths provided by VR, a performer can learn how to effectively operate their performance environment through the use of spatial awareness provided by VR stereoscopic rendering and hand tracking, as well as allowing for the construction of unique interfaces that are not limited by physical hardware constraints. This thesis also presents a software framework for connecting together multiple musical devices within a single performance ecosystem that can all be directly controlled from a single VR space. The final outcome of this research is a shared musical environment that is designed to foster closer connections between an audience, a performer and a performance interface into a coherent and appealing experience for all.</p>

scholarly journals IMAJINER RUANG KEPALA DALAM REKAMAN GAMELAN AGÊNG DENGAN TEKNIK STEREOFONIK

2021 ◽  
Vol 12 (2) ◽  
pp. 148-157
Author(s):  
Iwan Budi Santosa
Keyword(s):  
Live Performance ◽  
Recording Equipment ◽  
Recording Technique ◽  
Recording Techniques ◽  
A Performance

ABSTRACT The presentation of Javanese gamelan cannot always be present in the midst of our busy lives. In order to present musical karawitan whenever needed by the audience, it requires the recording of Javanese gamelan that can represent the original sound. Javanese people generally realize that the presentation of Javanese gamelan will be better if it is presented in pendapa. To find musical recordings as a performance in pendapa, it needs to consider the recording equipment used as well as recording techniques so that the sound will be obtained in accordance to the original sound and can bring the soul or spirit of Javanese gamelan. In order to get the gamelan recording in accordance to the original sound and to present the soul or spirit of the gamelan, the recording equipment used must adjust to the sound characteristics of the gamelan instruments and the recording uses stereophonic techniques. Stereophonics is a recording technique that is done in order to produce sounds in according to the original sound where the listeners feel to see a live performance. Keywords: Javanese Gamelan, recording, stereophonic.  AbastrakPenyajian gamelan Jawa tidak selalu bisa hadir di tengah kesibukan kita. Untuk menyajikan musik karawitan setiap kali dibutuhkan oleh penikmatnya, diperlukan rekaman gamelan Jawa yang dapat merepresentasikan suara aslinya. Masyarakat Jawa umumnya menyadari bahwa penyajian gamelan jawa akan lebih baik jika disajikan dalam pendapa. Untuk mengetahui rekaman musik sebagai sebuah pertunjukan dalam pendapa perlu memperhatikan alat perekam yang digunakan serta teknik perekamannya agar didapat suara yang sesuai dengan suara aslinya dan dapat memunculkan jiwa atau ruh gamelan Jawa. Untuk mendapatkan rekaman gamelan yang sesuai dengan suara aslinya dan menghadirkan jiwa atau ruh dari gamelan tersebut, alat perekam yang digunakan harus menyesuaikan dengan karakteristik bunyi dari alat musik gamelan tersebut dan perekamannya menggunakan teknik stereofonik. Stereophonics adalah teknik perekaman yang dilakukan untuk menghasilkan suara yang sesuai dengan suara aslinya dimana pendengar merasakan secara langsung pertunjukannya. Kata kunci: Gamelan Jawa, rekaman, stereofonik.

Romans 16: A Call to Embrace One Another in Love

2018 ◽  
Vol 5 (2) ◽  
Author(s):  
Sarah Agnew
Keyword(s):  
Video Recording ◽  
Biblical Interpretation ◽  
The Body ◽  
Live Performance ◽  
God's Love ◽  
The Way ◽  
A Performance

As a storyteller performs biblical compositions for live audiences, the way in which the body moves will not only communicate meaning to the audience in the live performance moment, but also to the storyteller through preparation, performance and reflection. This article considers how the body moves, speaks and feels as invitation to an audience to also move, hear and feel—and thus enter the call to enact relationships of mutual embrace as followers of Christ themselves. As the body moves, the repeated gestures of embrace in Romans 16, extending the hands in “welcome” or “embrace” will challenge accepted interpretations, as well as translation (the Greek ajspάsasqe aspasasthe from ἀσπάζομαι is most often rendered in English as “greet greet”). In hearing the body speak, this performance employs an elevated tone of joy and reverence in celebration of God’s love for all. This tone carries the flow of this chapter (Romans) to respect its integrity as a whole, and is integral to the entire letter with its teaching on a body richer for its diverse gifts. The body feels emotions of joy and love throughout Romans 16, enhancing the performer’s understanding of Paul’s love for his fellow followers of Christ. As the performer feels and thus knows that Paul cares deeply for these people, their lives, and their witness to the Liberator Jesus as a community of love, she interprets the “admonishments” not as words from an angry preacher, but as concerns of a loving pastor. This article demonstrates through the discussion outlined here—together with a linked video recording of a performance of Romans 16—an embodied performance approach to biblical interpretation that honours the body, emotion and audience as lenses through which to make meaning of these compositions.

scholarly journals Absolute Tempo in Multiple Performances of Aboriginal Songs: Analyzing Recordings of Djanba 12 and Djanba 14

2011 ◽  
Vol 28 (5) ◽  
pp. 473-490 ◽  
Author(s):  
Freya Bailes ◽  
Linda Barwick
Keyword(s):  
Experimental Research ◽  
Temporal Stability ◽  
Cultural Factors ◽  
Live Performance ◽  
Psychological Study ◽  
Field Recordings ◽  
Recorded Music ◽  
Performance Tradition ◽  
The Stability ◽  
A Performance

songs that are not notated but transmitted through live performance are of particular interest for the psychological study of the stability of tempo across multiple performances. While experimental research points to highly accurate memory for the tempi of well-known recorded music, this study asks whether there is any evidence of absolute tempo in a performance tradition that does not draw on such reference recordings. Fifty-four field recordings of performances of one Aboriginal dance-song, Djanba 14, were analyzed. Results showed that over a span of 34 years, performance tempi deviated positively or negatively, on average, by 2%. Such small tempo variation is similar to JND thresholds to discriminate the tempi of isochronous sequences. Thirty-five field recordings of another song from the same repertory, Djanba 12, deviated in tempi by an average of 3%. We discuss the musical, psychological, physical, and cultural factors likely to shape such temporal stability.

The Atlantic Ocean Breaking on Our Heads: Claudia Rankine, Robert Lowell, and the Whiteness of the Lyric Subject

PMLA ◽  
2019 ◽  
Vol 134 (3) ◽  
pp. 475-490 ◽  
Author(s):  
Kamran Javadizadeh
Keyword(s):  
Atlantic Ocean ◽  
Lived Experience ◽  
The Political ◽  
Confessional Poetry ◽  
Robert Lowell ◽  
American Life ◽  
Lyric Tradition

In Citizen: An American Lyric, Claudia Rankine discovers new forms of lyric subjectivity by rerouting the expressive lyric's investment in the singular self, recognized in well-established lines of American genealogy, into a sustained and historicizing attention to dispersed networks of black kinship. She does so in a revisionary allusion to Robert Lowell's Life Studies and thereby lays bare the fact that his landmark book, which she treats as a paradigm of the expressive lyric tradition, relies on the (usually unspoken) whiteness of its lyric subject for the force of its autobiographical disclosures. Rankine's Citizen thus not only helps us see confessional poetry—and the expressive lyric tradition for which it serves as apotheosis—in a radically new way but also develops an introspective lyric mode that remains alert, dispersed, and open to the political, social, and racialized formations that govern the lived experience of contemporary American life.

scholarly journals Critical Arts–Based Research: A Performance of Provocation

2017 ◽  
Vol 25 (9-10) ◽  
pp. 945-955 ◽  
Author(s):  
Carl Bagley ◽  
Ricardo Castro-Salazar
Keyword(s):  
Critical Race Theory ◽  
Mexican Americans ◽  
Mexican American ◽  
Research Literature ◽  
Live Performance ◽  
Methodological Issues ◽  
Race Theory ◽  
Arts Based Research ◽  
The Impact ◽  
A Performance

The article from a critical race theory standpoint draws on data from life history interviews with undocumented Mexican-Americans, and live performance work with Mexican-American artists, to reflect on the methodological issues raised by qualitative research addressing the ways in which critical arts–based research affects research participants as artists, subjects, and audience. To date, arts-based research literature has tended to concentrate on theoretically framing a performance piece within a specific genre (and its acclaimed advantages) and subsequently describing in detail the nature of a performance, an approach which at times means the impact of a performance is accepted uncritically, if not taken for granted. Our intent in this article is to draw on postperformance interviews and correspondence with artists, subjects, and audience members to critically reflect on participant impact, an impact which in this article we are calling a performance of provocation.

Words of power: Emerge, a language for the dynamic control of live performance

2010 ◽  
Vol 4 (1-2) ◽  
pp. 67-80 ◽  
Author(s):  
Ian Willcock
Keyword(s):  
Dynamic Control ◽  
Ease Of Use ◽  
Generic Model ◽  
Live Performance ◽  
Domain Specific ◽  
Wide Range ◽  
Performance Traditions ◽  
Prototype Software ◽  
Grammatical Structures ◽  
A Performance

The paper describes the key concepts and formal grammatical structures underpinning the design of a domain specific language (DSL) developed for dynamically specifying the logical choice-relationships between events and cues within live performance. A brief survey of existing approaches to describing and modelling live performance is given, both those based on generic terms together with approaches specific to particular genres and styles. The development of a generalised model of performer-activity in live performance is then introduced together with logical structures developed from the generic model which inform the language design and allow it to integrate with a wide range of performance traditions and genres. The implementation and application of these ideas in developing the Emerge language is explored through both a formal grammar and a discussion of the choices that had to be made between ease of use for the intended target users and grammatical simplicity. The features of the prototype software and language are briefly described showing how they might enable artists, both individually and collaboratively, to specify decision-making structures in advance of a performance and participate in shaping a performance as it proceeds.

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