San Duanmu
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780199267590
- eISBN:
- 9780191708367
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199267590.003.0008
- Subject:
- Linguistics, Phonetics / Phonology, Theoretical Linguistics
This chapter investigates the maximal syllable size in English. It shows that given the concepts of a potential V, the affix rule, and complex sounds, the maximal syllable in English is CVX. The ...
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This chapter investigates the maximal syllable size in English. It shows that given the concepts of a potential V, the affix rule, and complex sounds, the maximal syllable in English is CVX. The analysis is checked against an exhaustive examination of the CELEX lexicon of English.Less
This chapter investigates the maximal syllable size in English. It shows that given the concepts of a potential V, the affix rule, and complex sounds, the maximal syllable in English is CVX. The analysis is checked against an exhaustive examination of the CELEX lexicon of English.
San Duanmu
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780199267590
- eISBN:
- 9780191708367
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199267590.003.0010
- Subject:
- Linguistics, Phonetics / Phonology, Theoretical Linguistics
This chapter offers an exhaustive analysis of German words in the CELEX lexicon. It shows that given the concepts of a potential V, the affix rule, and complex sounds, the maximal syllable in German ...
More
This chapter offers an exhaustive analysis of German words in the CELEX lexicon. It shows that given the concepts of a potential V, the affix rule, and complex sounds, the maximal syllable in German is CVX.Less
This chapter offers an exhaustive analysis of German words in the CELEX lexicon. It shows that given the concepts of a potential V, the affix rule, and complex sounds, the maximal syllable in German is CVX.
San Duanmu
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780199267590
- eISBN:
- 9780191708367
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199267590.003.0011
- Subject:
- Linguistics, Phonetics / Phonology, Theoretical Linguistics
This chapter analyzes Jiarong, a Tibeto‐Burman language that was thought to be quite unusual in having large onset and coda clusters that violate expected sonority contours. It shows that, given the ...
More
This chapter analyzes Jiarong, a Tibeto‐Burman language that was thought to be quite unusual in having large onset and coda clusters that violate expected sonority contours. It shows that, given the concepts of a potential V, the affix rule, and complex sounds, the maximal syllable in Jiarong is CVX.Less
This chapter analyzes Jiarong, a Tibeto‐Burman language that was thought to be quite unusual in having large onset and coda clusters that violate expected sonority contours. It shows that, given the concepts of a potential V, the affix rule, and complex sounds, the maximal syllable in Jiarong is CVX.
Paul Kiparsky
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780199298495
- eISBN:
- 9780191711442
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199298495.003.0002
- Subject:
- Linguistics, Historical Linguistics
This chapter presents an absolute explanation for universal patterns. The following criteria should converge to identify true universals: (1) universals have no exceptions (for what does not arise by ...
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This chapter presents an absolute explanation for universal patterns. The following criteria should converge to identify true universals: (1) universals have no exceptions (for what does not arise by change cannot be subverted by it either). That is, they are violable only in virtue of more highly ranked universal constraints. (2) Universals are process-independent. (3) Universals can be manifested in ‘emergence of the unmarked’ effects. (4) Universals constitute pathways for analogical change. (5) Universals are embedded in grammars as constraints and can interact with other grammatical constraints. Choosing as testing grounds Binding Theory and split ergativity in morphosyntax, and voicing neutralization and sonority in phonology, it is argued that criteria do converge rather cleanly in each case.Less
This chapter presents an absolute explanation for universal patterns. The following criteria should converge to identify true universals: (1) universals have no exceptions (for what does not arise by change cannot be subverted by it either). That is, they are violable only in virtue of more highly ranked universal constraints. (2) Universals are process-independent. (3) Universals can be manifested in ‘emergence of the unmarked’ effects. (4) Universals constitute pathways for analogical change. (5) Universals are embedded in grammars as constraints and can interact with other grammatical constraints. Choosing as testing grounds Binding Theory and split ergativity in morphosyntax, and voicing neutralization and sonority in phonology, it is argued that criteria do converge rather cleanly in each case.
Floyd Grave and Margaret Grave
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195173574
- eISBN:
- 9780199872152
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195173574.003.0005
- Subject:
- Music, History, Western
Centrally important to Haydn's concept of the genre, sonata form's polarities, fluctuating energies, and tensional relationships between themes and sections offered countless opportunities for ...
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Centrally important to Haydn's concept of the genre, sonata form's polarities, fluctuating energies, and tensional relationships between themes and sections offered countless opportunities for instrumental expression and design. Aspects explored in this chapter include the distinction between continuous expositions dominated by transitional processes and those featuring a medial caesura; the varied profiles of long, thematically diverse and tonally unstable development sections; the variety of alternatives afforded by the recapitulation, often including developmental digression and reconfiguration of material from the exposition (sometimes so pronounced as to challenge the basic principles of thematic recurrence and proportional correspondence); and the occasional inclusion of a coda following the end of the recapitulation proper. Some interior movements exemplify the so-called slow movement form, with exposition and recapitulation but no development section.Less
Centrally important to Haydn's concept of the genre, sonata form's polarities, fluctuating energies, and tensional relationships between themes and sections offered countless opportunities for instrumental expression and design. Aspects explored in this chapter include the distinction between continuous expositions dominated by transitional processes and those featuring a medial caesura; the varied profiles of long, thematically diverse and tonally unstable development sections; the variety of alternatives afforded by the recapitulation, often including developmental digression and reconfiguration of material from the exposition (sometimes so pronounced as to challenge the basic principles of thematic recurrence and proportional correspondence); and the occasional inclusion of a coda following the end of the recapitulation proper. Some interior movements exemplify the so-called slow movement form, with exposition and recapitulation but no development section.
David Manning
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195182392
- eISBN:
- 9780199851485
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195182392.003.0077
- Subject:
- Music, History, Western
This chapter describes in detail the heroic elegy and the triumphal epilogue. The first section consists of a long melody given to the trombone, accompanied by a persistent syncopated figure on the ...
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This chapter describes in detail the heroic elegy and the triumphal epilogue. The first section consists of a long melody given to the trombone, accompanied by a persistent syncopated figure on the strings. This melody is further developed by the horns, and the section ends with a long-drawn cadence founded on the last bar of the melody. The chapter also states that the theme of the middle section is given to the violins, divided into four parts, and repeated by the trumpets playing softly. After further development, the syncopated figure returns fortissimo, and the first section is repeated in shortened form. In addition, the chapter further discusses that the coda is founded on the middle section, while the drum continues the syncopated figure of the opening.Less
This chapter describes in detail the heroic elegy and the triumphal epilogue. The first section consists of a long melody given to the trombone, accompanied by a persistent syncopated figure on the strings. This melody is further developed by the horns, and the section ends with a long-drawn cadence founded on the last bar of the melody. The chapter also states that the theme of the middle section is given to the violins, divided into four parts, and repeated by the trumpets playing softly. After further development, the syncopated figure returns fortissimo, and the first section is repeated in shortened form. In addition, the chapter further discusses that the coda is founded on the middle section, while the drum continues the syncopated figure of the opening.
David Manning
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195182392
- eISBN:
- 9780199851485
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195182392.003.0082
- Subject:
- Music, History, Western
The mood of A Pastoral Symphony is, as its title suggests, almost entirely quiet and contemplative—there are few fortissimos and few allegros. The only really quick passage is the Coda to the third ...
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The mood of A Pastoral Symphony is, as its title suggests, almost entirely quiet and contemplative—there are few fortissimos and few allegros. The only really quick passage is the Coda to the third movement, and that is all pianissimo. In form it follows fairly closely the classical pattern, and is in four movements: Moderato (this leads to a cadence, and is followed by a new figure first played by the cor-anglais and taken up by the other instruments, which leads in its turn to a new subject in A minor), Andantino, Moderato pesante, and Lento-Moderato Maestoso. The middle section of the movement is founded on the introductory passage, after which the principal subject returns in shortened form, and the movement ends as it began, except that the introductory passage is accompanied, not by the drum, but by a high note held by the strings.Less
The mood of A Pastoral Symphony is, as its title suggests, almost entirely quiet and contemplative—there are few fortissimos and few allegros. The only really quick passage is the Coda to the third movement, and that is all pianissimo. In form it follows fairly closely the classical pattern, and is in four movements: Moderato (this leads to a cadence, and is followed by a new figure first played by the cor-anglais and taken up by the other instruments, which leads in its turn to a new subject in A minor), Andantino, Moderato pesante, and Lento-Moderato Maestoso. The middle section of the movement is founded on the introductory passage, after which the principal subject returns in shortened form, and the movement ends as it began, except that the introductory passage is accompanied, not by the drum, but by a high note held by the strings.
Irene W. Leigh
- Published in print:
- 2009
- Published Online:
- May 2010
- ISBN:
- 9780195320664
- eISBN:
- 9780199864584
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195320664.003.0003
- Subject:
- Psychology, Social Psychology, Developmental Psychology
Chapter 3 addresses the dangers of assuming that a specific deaf identity category fully explains the person. Complexities and nuances are outlined for the following categories: Culturally “hearing,” ...
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Chapter 3 addresses the dangers of assuming that a specific deaf identity category fully explains the person. Complexities and nuances are outlined for the following categories: Culturally “hearing,” late deafened, culturally Deaf, Bicultural, Codas (children of deaf adults), and hard of hearing. The main focus of this chapter is that each of these identities are fluid, becoming more or less salient in comparison with other identities, depending on one's environment or situation. This reality argues against a purely essentialist conceptualization of each identity category.Less
Chapter 3 addresses the dangers of assuming that a specific deaf identity category fully explains the person. Complexities and nuances are outlined for the following categories: Culturally “hearing,” late deafened, culturally Deaf, Bicultural, Codas (children of deaf adults), and hard of hearing. The main focus of this chapter is that each of these identities are fluid, becoming more or less salient in comparison with other identities, depending on one's environment or situation. This reality argues against a purely essentialist conceptualization of each identity category.
David Greetham
- Published in print:
- 1997
- Published Online:
- October 2011
- ISBN:
- 9780198236634
- eISBN:
- 9780191679315
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198236634.003.0009
- Subject:
- Literature, Criticism/Theory
The question for a ‘coda’ to a collection the electronic text is whether one might be close to achieving that new norm, whether the brave new world of biomorphs and cybernetics has begun to change ...
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The question for a ‘coda’ to a collection the electronic text is whether one might be close to achieving that new norm, whether the brave new world of biomorphs and cybernetics has begun to change the temporal and logistic contours of identity so that, just as the agency of the human subject may be called into question as a biographical, biological, and coherently historical figure under postmodernism, so may the textual productions of a newly digitised sensibility. Morphing is not just immortality, it is change itself. In other words, morphing as a general biological phenomenon is already a condition of nature, according to this law of the preservation of energy as Publius Ovidius Naso shows in the opening lines of his Metamorphoses.Less
The question for a ‘coda’ to a collection the electronic text is whether one might be close to achieving that new norm, whether the brave new world of biomorphs and cybernetics has begun to change the temporal and logistic contours of identity so that, just as the agency of the human subject may be called into question as a biographical, biological, and coherently historical figure under postmodernism, so may the textual productions of a newly digitised sensibility. Morphing is not just immortality, it is change itself. In other words, morphing as a general biological phenomenon is already a condition of nature, according to this law of the preservation of energy as Publius Ovidius Naso shows in the opening lines of his Metamorphoses.
Harlan Lane, Richard C. Pillard, and Ulf Hedberg
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199759293
- eISBN:
- 9780199863372
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199759293.003.0003
- Subject:
- Psychology, Cognitive Psychology
Chapters 1 and 2 led to the conclusion that the Deaf-World is an ethnic group. This chapter examines the major challenges to the concept of Deaf ethnicity. The issues are: resistance to assimilation; ...
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Chapters 1 and 2 led to the conclusion that the Deaf-World is an ethnic group. This chapter examines the major challenges to the concept of Deaf ethnicity. The issues are: resistance to assimilation; socialization outside the family; Deaf disability; timing of acculturation; non-hereditary deafness; ethnic autonomy; generational transmission; common descent; role of CODAs; American pluralism; and Deaf people's vision of integration. The Deaf dilemma is this: To exercise some important rights as members of society at the expense of being mischaracterized by that society and government as a disability group, or to refuse some of those rights in the hope of gradually undermining that misconstruction and gaining rights that are truly appropriate and broader for Deaf ethnicity.Less
Chapters 1 and 2 led to the conclusion that the Deaf-World is an ethnic group. This chapter examines the major challenges to the concept of Deaf ethnicity. The issues are: resistance to assimilation; socialization outside the family; Deaf disability; timing of acculturation; non-hereditary deafness; ethnic autonomy; generational transmission; common descent; role of CODAs; American pluralism; and Deaf people's vision of integration. The Deaf dilemma is this: To exercise some important rights as members of society at the expense of being mischaracterized by that society and government as a disability group, or to refuse some of those rights in the hope of gradually undermining that misconstruction and gaining rights that are truly appropriate and broader for Deaf ethnicity.
James Hepokoski and Warren Darcy
- Published in print:
- 2006
- Published Online:
- October 2011
- ISBN:
- 9780195146400
- eISBN:
- 9780199850983
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195146400.003.0013
- Subject:
- Music, Theory, Analysis, Composition
Some sonata movements feature a parageneric space. Everything in the movement that may set up or otherwise alter or frame the presentation of the sonata form is a parageneric space. In such a ...
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Some sonata movements feature a parageneric space. Everything in the movement that may set up or otherwise alter or frame the presentation of the sonata form is a parageneric space. In such a movement, the most frequently encountered parageneric space are accretions, which in the second half of the eighteenth century came to be increasingly attractive options as add-ons to the basic structure; the most common are codas and introductions. The coda is a parageneric space that stands outside the sonata form. Sometimes codas are little more than emphatic, tonic-prolongational tags. Codas are also used if the composer wants to say something more. Although its length may vary, the shorter codas were the norm before longer ones began to appear, and when a coda is lengthy it is referred to as a discursive coda.Less
Some sonata movements feature a parageneric space. Everything in the movement that may set up or otherwise alter or frame the presentation of the sonata form is a parageneric space. In such a movement, the most frequently encountered parageneric space are accretions, which in the second half of the eighteenth century came to be increasingly attractive options as add-ons to the basic structure; the most common are codas and introductions. The coda is a parageneric space that stands outside the sonata form. Sometimes codas are little more than emphatic, tonic-prolongational tags. Codas are also used if the composer wants to say something more. Although its length may vary, the shorter codas were the norm before longer ones began to appear, and when a coda is lengthy it is referred to as a discursive coda.
Gregory J. Snyder
- Published in print:
- 2017
- Published Online:
- September 2018
- ISBN:
- 9780814769867
- eISBN:
- 9780814729205
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814769867.003.0013
- Subject:
- Law, Intellectual Property, IT, and Media Law
This chapter checks in with not only the people who have participated in this book but also the spaces. Nick Tucker, Sebo Walker, and Matt Gottwig are all successful skateboarders now, while famous ...
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This chapter checks in with not only the people who have participated in this book but also the spaces. Nick Tucker, Sebo Walker, and Matt Gottwig are all successful skateboarders now, while famous places such as Hubba Hideout in San Francisco and Love Park in Philadelphia have been demolished. This chapter reflects on the experience of working with skaters and also thanks the participants.Less
This chapter checks in with not only the people who have participated in this book but also the spaces. Nick Tucker, Sebo Walker, and Matt Gottwig are all successful skateboarders now, while famous places such as Hubba Hideout in San Francisco and Love Park in Philadelphia have been demolished. This chapter reflects on the experience of working with skaters and also thanks the participants.
Eric J. Cassell
- Published in print:
- 2004
- Published Online:
- November 2011
- ISBN:
- 9780195156164
- eISBN:
- 9780199999880
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195156164.003.0013
- Subject:
- Palliative Care, Patient Care and End-of-Life Decision Making, Palliative Medicine and Older People
This chapter discusses and examines the question: how does the mind act on the body? It presents a thesis that pertains to meanings and the things people do, the former being essential to the latter. ...
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This chapter discusses and examines the question: how does the mind act on the body? It presents a thesis that pertains to meanings and the things people do, the former being essential to the latter. The chapter examines the concept of the mind, while considering the concept of disease to be misleading. It discusses psychosomatic medicine, how the activities of thought influence the body, the flow of meaning, coda, and the special case of preverbal children.Less
This chapter discusses and examines the question: how does the mind act on the body? It presents a thesis that pertains to meanings and the things people do, the former being essential to the latter. The chapter examines the concept of the mind, while considering the concept of disease to be misleading. It discusses psychosomatic medicine, how the activities of thought influence the body, the flow of meaning, coda, and the special case of preverbal children.
Kristján Árnason
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199229314
- eISBN:
- 9780191728464
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199229314.003.0009
- Subject:
- Linguistics, Phonetics / Phonology, Language Families
The chapter focuses on syllable structure and phonotactics, starting with Icelandic and discussing the motivation for assuming the syllable and subsyllabic constituents as structural entities. Among ...
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The chapter focuses on syllable structure and phonotactics, starting with Icelandic and discussing the motivation for assuming the syllable and subsyllabic constituents as structural entities. Among phenomena relevant in these considerations are the Icelandic length rule and the so‐called half length and overlength, both relevant to the way stress is realized. Faroese syllable structure is then discussed from the same point of view, and a template for the length rule in Faroese as it functions in full syllables is presented. Half length and overlength are also shown to occur in Faroese. There is a special discussion of the status of full syllables and restricted syllables in the phonological hierarchy. The remainder of the chapter is devoted to consonantal phonotactics, giving an overview of the permissible onsets and codas in each language. There is a special section on the analysis of gemination of glides and consonants.Less
The chapter focuses on syllable structure and phonotactics, starting with Icelandic and discussing the motivation for assuming the syllable and subsyllabic constituents as structural entities. Among phenomena relevant in these considerations are the Icelandic length rule and the so‐called half length and overlength, both relevant to the way stress is realized. Faroese syllable structure is then discussed from the same point of view, and a template for the length rule in Faroese as it functions in full syllables is presented. Half length and overlength are also shown to occur in Faroese. There is a special discussion of the status of full syllables and restricted syllables in the phonological hierarchy. The remainder of the chapter is devoted to consonantal phonotactics, giving an overview of the permissible onsets and codas in each language. There is a special section on the analysis of gemination of glides and consonants.
Michael Heads
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780520271968
- eISBN:
- 9780520951808
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520271968.003.0010
- Subject:
- Biology, Evolutionary Biology / Genetics
This chapter extends the discussion past the factors of space and time to include evolution in form. The critique of the center of origin-adaptation-dispersal (CODA) model that is presented here ...
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This chapter extends the discussion past the factors of space and time to include evolution in form. The critique of the center of origin-adaptation-dispersal (CODA) model that is presented here finds parallels in work on genome evolution. The modern synthesis idea that whole-genome evolution relies on “extrinsic needs” can be replaced by a model of evolution determined primarily by intrinsic, genetic factors. Nonadaptive changes have been proposed to explain changes in genome complexity, in gene regulatory networks, and in the genetic code. Processes such as biased gene conversion can lead to results that mimic those of selection. At the ecological level, community structure has been attributed to local factors such as competition. Instead, the causes may be nonadaptive and caused by phylogeny at regional, biogeographic scales.Less
This chapter extends the discussion past the factors of space and time to include evolution in form. The critique of the center of origin-adaptation-dispersal (CODA) model that is presented here finds parallels in work on genome evolution. The modern synthesis idea that whole-genome evolution relies on “extrinsic needs” can be replaced by a model of evolution determined primarily by intrinsic, genetic factors. Nonadaptive changes have been proposed to explain changes in genome complexity, in gene regulatory networks, and in the genetic code. Processes such as biased gene conversion can lead to results that mimic those of selection. At the ecological level, community structure has been attributed to local factors such as competition. Instead, the causes may be nonadaptive and caused by phylogeny at regional, biogeographic scales.
Jane Manning
- Published in print:
- 2021
- Published Online:
- February 2021
- ISBN:
- 9780199390960
- eISBN:
- 9780199391011
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199390960.003.0010
- Subject:
- Music, Performing Practice/Studies, Popular
This chapter studies Gary Carpenter’s Love’s Eternity (2006). Carpenter admits that this work is quite different from anything else in his output. It was first conceived as part of a radio programme ...
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This chapter studies Gary Carpenter’s Love’s Eternity (2006). Carpenter admits that this work is quite different from anything else in his output. It was first conceived as part of a radio programme about Robert Browning’s final days, and the knowledge of Browning’s affection for Schumann’s music had a subliminal influence on the style. Carpenter’s sensitivity to sound quality is exceptional: timings and tessitura ensure the complete audibility of the texts. The singer stays comfortably on the stave for the bulk of the piece, and the voice is allowed to cruise evenly through limpid lines that feel entirely natural from the outset. The music rises and falls in logical patterns, often repeated, in an unaffected, tonal idiom. Deep feeling is conveyed simply and directly without bombast or over-dramatization. Moreover, piano parts throughout have a strong stylistic unity. Their rich textures, often covering a wide range, contribute strongly to the expressive impact, providing warm sonorities and added colour to the plainer vocal lines.Less
This chapter studies Gary Carpenter’s Love’s Eternity (2006). Carpenter admits that this work is quite different from anything else in his output. It was first conceived as part of a radio programme about Robert Browning’s final days, and the knowledge of Browning’s affection for Schumann’s music had a subliminal influence on the style. Carpenter’s sensitivity to sound quality is exceptional: timings and tessitura ensure the complete audibility of the texts. The singer stays comfortably on the stave for the bulk of the piece, and the voice is allowed to cruise evenly through limpid lines that feel entirely natural from the outset. The music rises and falls in logical patterns, often repeated, in an unaffected, tonal idiom. Deep feeling is conveyed simply and directly without bombast or over-dramatization. Moreover, piano parts throughout have a strong stylistic unity. Their rich textures, often covering a wide range, contribute strongly to the expressive impact, providing warm sonorities and added colour to the plainer vocal lines.
Jane Manning
- Published in print:
- 2021
- Published Online:
- February 2021
- ISBN:
- 9780199390960
- eISBN:
- 9780199391011
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199390960.003.0024
- Subject:
- Music, Performing Practice/Studies, Popular
This chapter focuses on Joel Feigin’s Two Songs from ‘Twelfth Night’ (2013). This is but a small and relatively simple example of Feigin’s work, which embraces a great variety of styles and genres, ...
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This chapter focuses on Joel Feigin’s Two Songs from ‘Twelfth Night’ (2013). This is but a small and relatively simple example of Feigin’s work, which embraces a great variety of styles and genres, and exhibits unfailingly high standards of professionalism and versatility. These settings of two well-loved Shakespeare texts have been extracted from his two-act opera, Twelfth Night. They make a pleasing concert item, suited to a light baritone who is happy sustaining cantabile lines which are sometimes exposed at key moments. The writing is, in general, lyrical and smooth, and proceeds in a straightforward, often identifiably tonal idiom, with just a few corners where pitches can deceive, especially in enharmonic relationships. Both settings are basically minuets—the first lithe and graceful, the second with a more sombre tread to its three-in-a-bar. Both also have slow codas which put the singer’s tonal steadiness under the microscope. Meanwhile, the piano parts veer between a lean sprightliness and warmer, shifting chordal chromaticism, supporting the voice with sensitivity at all times.Less
This chapter focuses on Joel Feigin’s Two Songs from ‘Twelfth Night’ (2013). This is but a small and relatively simple example of Feigin’s work, which embraces a great variety of styles and genres, and exhibits unfailingly high standards of professionalism and versatility. These settings of two well-loved Shakespeare texts have been extracted from his two-act opera, Twelfth Night. They make a pleasing concert item, suited to a light baritone who is happy sustaining cantabile lines which are sometimes exposed at key moments. The writing is, in general, lyrical and smooth, and proceeds in a straightforward, often identifiably tonal idiom, with just a few corners where pitches can deceive, especially in enharmonic relationships. Both settings are basically minuets—the first lithe and graceful, the second with a more sombre tread to its three-in-a-bar. Both also have slow codas which put the singer’s tonal steadiness under the microscope. Meanwhile, the piano parts veer between a lean sprightliness and warmer, shifting chordal chromaticism, supporting the voice with sensitivity at all times.
Jane Manning
- Published in print:
- 2021
- Published Online:
- February 2021
- ISBN:
- 9780199390960
- eISBN:
- 9780199391011
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199390960.003.0059
- Subject:
- Music, Performing Practice/Studies, Popular
This chapter explores Anthony Richie’s Two Pantoums (2005). In this piece, each of Cilla McQueen’s strikingly resonant texts, one commissioned specially, takes the form of a pantoum. This is Malay in ...
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This chapter explores Anthony Richie’s Two Pantoums (2005). In this piece, each of Cilla McQueen’s strikingly resonant texts, one commissioned specially, takes the form of a pantoum. This is Malay in origin and consists of a series of four-line stanzas, with rhymings and repeats alternating in the pattern ABCD, BEDF, EGFH, GIHJ, and so on. Each poem is rounded off with a final, framing ICJA stanza, making a satisfyingly symmetrical effect. With enviable ingenuity, Ritchie manages to adhere strictly to the form throughout his vocal settings, yet, by dint of subtle transposition and rhythmic variation, he avoids rigidity and instead creates a feeling of free-flowing spontaneity, aided considerably by rewardingly varied piano parts. Indeed, the songs progress so seamlessly that one is barely aware of their intricate, tightly knit structure. He wisely keeps the soprano within a comfortable and practicable tessitura and word-setting is exemplary. The relationship between voice and piano is idiomatic and the attractive musical language—mainly tonal, but laced with chromaticism and modality—is ‘accessible’ in the best sense.Less
This chapter explores Anthony Richie’s Two Pantoums (2005). In this piece, each of Cilla McQueen’s strikingly resonant texts, one commissioned specially, takes the form of a pantoum. This is Malay in origin and consists of a series of four-line stanzas, with rhymings and repeats alternating in the pattern ABCD, BEDF, EGFH, GIHJ, and so on. Each poem is rounded off with a final, framing ICJA stanza, making a satisfyingly symmetrical effect. With enviable ingenuity, Ritchie manages to adhere strictly to the form throughout his vocal settings, yet, by dint of subtle transposition and rhythmic variation, he avoids rigidity and instead creates a feeling of free-flowing spontaneity, aided considerably by rewardingly varied piano parts. Indeed, the songs progress so seamlessly that one is barely aware of their intricate, tightly knit structure. He wisely keeps the soprano within a comfortable and practicable tessitura and word-setting is exemplary. The relationship between voice and piano is idiomatic and the attractive musical language—mainly tonal, but laced with chromaticism and modality—is ‘accessible’ in the best sense.
N’omi B. Greber
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9780813034553
- eISBN:
- 9780813039190
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034553.003.0013
- Subject:
- Archaeology, Prehistoric Archaeology
The concluding chapter tries to compose a coda for the chapters and conversations by different scholars contained in this book adding to the view of “Hopewell.” This coda is an ending rather than ...
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The concluding chapter tries to compose a coda for the chapters and conversations by different scholars contained in this book adding to the view of “Hopewell.” This coda is an ending rather than being a summary which ponders the concepts of theory and data in general terms that are integral to all archaeological research. In particular, this chapter considers where, when, who, and, more important, what distinguishes the “Hopewell” associated with various patterns perceived in the several material and abstract systems portrayed in this volume. The chapter states that to understand better the peoples we call “Hopewell,” we need to deal with basic magnitudes of time, space, and peoples, both cosmological and practical. The chapter defines Hopewell to be a mosaic of balanced, intellectual, and gifted peoples spread through space and time.Less
The concluding chapter tries to compose a coda for the chapters and conversations by different scholars contained in this book adding to the view of “Hopewell.” This coda is an ending rather than being a summary which ponders the concepts of theory and data in general terms that are integral to all archaeological research. In particular, this chapter considers where, when, who, and, more important, what distinguishes the “Hopewell” associated with various patterns perceived in the several material and abstract systems portrayed in this volume. The chapter states that to understand better the peoples we call “Hopewell,” we need to deal with basic magnitudes of time, space, and peoples, both cosmological and practical. The chapter defines Hopewell to be a mosaic of balanced, intellectual, and gifted peoples spread through space and time.
Rebecca Treiman
- Published in print:
- 1993
- Published Online:
- November 2020
- ISBN:
- 9780195062199
- eISBN:
- 9780197560143
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780195062199.003.0004
- Subject:
- Education, Early Childhood and Elementary Education
To be literate, people must be able to read and to write. There has been a large amount of research on the first aspect of literacy, reading. We now know a good deal ...
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To be literate, people must be able to read and to write. There has been a large amount of research on the first aspect of literacy, reading. We now know a good deal about how adults read and about how children learn to read. We know much less about the second aspect of literacy, writing. One aspect of learning how to write is learning how to spell. How do children manage this, especially in a language like English that has so many irregular spellings? That is the topic of this book. In this book, I present a detailed study of the spellings produced by a group of American first-grade children. I ask what the children’s spellings reveal about their knowledge of language and about the development of spelling ability. In these days of computerized spelling checkers, is learning to spell correctly still necessary for being a good writer? I believe that it is. In her review of research on beginning reading, Marilyn Adams (1990, p. 3) states that “the ability to read words, quickly, accurately, and effortlessly, is critical to skillful reading comprehension— in the obvious ways and in a number of more subtle ones.” Similarly, the ability to spell words easily and accurately is an important pan of being a good writer. A person who must stop and puzzle over the spelling of each word, even if that person is aided by a computerized spelling checker, has little attention left to devote to other aspects of writing. Just as learning to read words is an important part of reading comprehension, so learning to spell words is an important part of writing. In the study reported in this book, I focus on a group of American first-grade children who were learning to read and write in English. These children, like an increasing number of children in America today, were encouraged to write on their own from the very beginning of the first-grade year. Their teacher did not stress correct spelling. Indeed, she did not tell the children how to spell a word even if they asked.
Less
To be literate, people must be able to read and to write. There has been a large amount of research on the first aspect of literacy, reading. We now know a good deal about how adults read and about how children learn to read. We know much less about the second aspect of literacy, writing. One aspect of learning how to write is learning how to spell. How do children manage this, especially in a language like English that has so many irregular spellings? That is the topic of this book. In this book, I present a detailed study of the spellings produced by a group of American first-grade children. I ask what the children’s spellings reveal about their knowledge of language and about the development of spelling ability. In these days of computerized spelling checkers, is learning to spell correctly still necessary for being a good writer? I believe that it is. In her review of research on beginning reading, Marilyn Adams (1990, p. 3) states that “the ability to read words, quickly, accurately, and effortlessly, is critical to skillful reading comprehension— in the obvious ways and in a number of more subtle ones.” Similarly, the ability to spell words easily and accurately is an important pan of being a good writer. A person who must stop and puzzle over the spelling of each word, even if that person is aided by a computerized spelling checker, has little attention left to devote to other aspects of writing. Just as learning to read words is an important part of reading comprehension, so learning to spell words is an important part of writing. In the study reported in this book, I focus on a group of American first-grade children who were learning to read and write in English. These children, like an increasing number of children in America today, were encouraged to write on their own from the very beginning of the first-grade year. Their teacher did not stress correct spelling. Indeed, she did not tell the children how to spell a word even if they asked.
