The Voice of an Incestuous Sister

2020 ◽  
pp. 179-224
Author(s):  
Machiko Ishikawa
Keyword(s):  
Folk Song ◽  
Incest Taboo ◽  
Double Suicide ◽  
The Voice ◽  
Male Homosociality ◽  
Considerable Discussion

This chapter investigates the voice of the sister, Satoko, who has an incestuous relationship with Akiyuki. There is considerable discussion in both Japanese and English scholarship of Akiyuki's breaking the incest taboo with his half-sister as a substitute for patricide. Although a number of these commentaries reference Satoko, little attention has been given to her vulnerability or her response to the incest. Thus, this chapter profiles Satoko's subjectivity by considering her as a sister whose sexuality is exploited as a strategic weapon in Akiyuki's bitter conflict with his father. This conflict is shown as the son's attempt to bond with the father. Drawing on a study of male “homosociality,” this chapter discusses Satoko's subalternity as an object of dispute in her father and half-brother's homosocial bond. A key element of the chapter is the analysis of Nakagami's interpretation and, in turn, a reinterpretation of “Kyōdai shinjū” (“A brother–sister double suicide”), a folk song featured in the Akiyuki trilogy that implies the playing out of a mythic family tragedy in Kasuga.

Obscenity and the Voice

2018 ◽  
Author(s):  
Chris Forster
Keyword(s):  
Social Cohesion ◽  
Folk Song ◽  
Social Health ◽  
Music Hall ◽  
The Voice

This chapter argues that an oral mode of textual circulation, which T. S. Eliot discovered both in obscene, comic, bawdy folk song and in music hall performance, provided him with a vision of social cohesion that contrasts with the fragmentation that is otherwise central to his work. The ability of these genres to figure an otherwise lost social cohesion, however, reflects the fact that they are spaces where men bonded and created a sense of homosocial community. Eliot’s published comments on obscenity confirm his valuation of the comic or humorous obscene as a mode and index of social health; but the instances where Eliot discovers this cohesion are predicated on the exclusion of women.

DON KAY (b. 1934)Four Bird Songs from Shaw Neilson (2005)

2021 ◽  
pp. 120-122
Author(s):  
Jane Manning
Keyword(s):  
Natural World ◽  
Folk Song ◽  
Bird Songs ◽  
Close Affinity ◽  
Standard Notation ◽  
The Voice ◽  
Vaughan Williams

This chapter describes Tasmanian composer Dan Kay’s Four Bird Songs from Shaw Neilson (2005). The texts for this pleasing, fluent cycle are by the farmworker-poet Shaw Neilson, and reflect his close affinity with the natural world, especially the life of waterbirds. Kay’s palpable empathy with these unsophisticated but burningly sincere poems draws music of clarity and refinement. The frequent modal melodies and minor harmonies cannot help but call to mind Vaughan Williams and the English folk-song tradition, but Kay manages to inject an individual flavour by means of chromatic shifts and varied rhythms, especially in the last two, slightly longer, songs. A light young baritone with a safe high register would be ideal here. The piano writing is clear and uncluttered, with simple, repeated figurations, and there is no need to force the voice. Standard notation is used throughout.

B. The Non-Linear Calculations for Pulsating Stars

1967 ◽  
Vol 28 ◽  
pp. 105-176
Author(s):  
Robert F. Christy
Keyword(s):  
Major Part ◽  
Afternoon Session ◽  
Discussion Session ◽  
Pulsating Stars ◽  
Fourth Symposium ◽  
Non Linear ◽  
Considerable Discussion ◽  
Informal Approach ◽  
Preceding Session

(Ed. note: The custom in these Symposia has been to have a summary-introductory presentation which lasts about 1 to 1.5 hours, during which discussion from the floor is minor and usually directed at technical clarification. The remainder of the session is then devoted to discussion of the whole subject, oriented around the summary-introduction. The preceding session, I-A, at Nice, followed this pattern. Christy suggested that we might experiment in his presentation with a much more informal approach, allowing considerable discussion of the points raised in the summary-introduction during its presentation, with perhaps the entire morning spent in this way, reserving the afternoon session for discussion only. At Varenna, in the Fourth Symposium, several of the summaryintroductory papers presented from the astronomical viewpoint had been so full of concepts unfamiliar to a number of the aerodynamicists-physicists present, that a major part of the following discussion session had been devoted to simply clarifying concepts and then repeating a considerable amount of what had been summarized. So, always looking for alternatives which help to increase the understanding between the different disciplines by introducing clarification of concept as expeditiously as possible, we tried Christy's suggestion. Thus you will find the pattern of the following different from that in session I-A. I am much indebted to Christy for extensive collaboration in editing the resulting combined presentation and discussion. As always, however, I have taken upon myself the responsibility for the final editing, and so all shortcomings are on my head.)

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
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