Mark Tatham and Katherine Morton
- Published in print:
- 2003
- Published Online:
- September 2007
- ISBN:
- 9780199250677
- eISBN:
- 9780191719462
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199250677.003.0014
- Subject:
- Linguistics, Phonetics / Phonology
This chapter defines expressive speech as used in this book. The concept of a composite acoustic waveform is presented, consisting of two components: the basic message and expression. The speaker ...
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This chapter defines expressive speech as used in this book. The concept of a composite acoustic waveform is presented, consisting of two components: the basic message and expression. The speaker plans an utterance, a listener assigns labels to that utterance, and arrives at a percept which recovers the intended message. This differs from other models which do not emphasize the assignment of labels or symbolic representation to the waveform. Another difference is the proposal that speaking occurs within an overall expressive wrapper. Short term and long term expression is discussed and the role of the listener is emphasized.Less
This chapter defines expressive speech as used in this book. The concept of a composite acoustic waveform is presented, consisting of two components: the basic message and expression. The speaker plans an utterance, a listener assigns labels to that utterance, and arrives at a percept which recovers the intended message. This differs from other models which do not emphasize the assignment of labels or symbolic representation to the waveform. Another difference is the proposal that speaking occurs within an overall expressive wrapper. Short term and long term expression is discussed and the role of the listener is emphasized.
Paul Borgman
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195331608
- eISBN:
- 9780199868001
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195331608.003.0001
- Subject:
- Religion, Biblical Studies
“Who is David?” asks a wealthy and churlish land‐owner, Nabal, in a belittling manner (I Samuel, 25:2). “Whose son is this man?” asks Israel's first king, Saul, as David goes out to fight Goliath—in ...
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“Who is David?” asks a wealthy and churlish land‐owner, Nabal, in a belittling manner (I Samuel, 25:2). “Whose son is this man?” asks Israel's first king, Saul, as David goes out to fight Goliath—in spite of the narrative fact that David has already been introduced to Saul. “Who am I, O Lord God?” asks David later in the story, after Saul's death and his own rise to power: “who am I….that you have brought me this far?” (II, 7:18). Uncovering and solving this story's implicit questions—and explicit, as above—depends on close attention to the dozen or so broad patterns of repetition governing the narrative's progress. The ancient storyteller relied on techniques of repetition geared for skilled listeners, and within these various kinds of repetition were discovered the story's embedded meaning, its mysteries of character, action, and moral vision.Less
“Who is David?” asks a wealthy and churlish land‐owner, Nabal, in a belittling manner (I Samuel, 25:2). “Whose son is this man?” asks Israel's first king, Saul, as David goes out to fight Goliath—in spite of the narrative fact that David has already been introduced to Saul. “Who am I, O Lord God?” asks David later in the story, after Saul's death and his own rise to power: “who am I….that you have brought me this far?” (II, 7:18). Uncovering and solving this story's implicit questions—and explicit, as above—depends on close attention to the dozen or so broad patterns of repetition governing the narrative's progress. The ancient storyteller relied on techniques of repetition geared for skilled listeners, and within these various kinds of repetition were discovered the story's embedded meaning, its mysteries of character, action, and moral vision.
Mark Tatham and Katherine Morton
- Published in print:
- 2003
- Published Online:
- September 2007
- ISBN:
- 9780199250677
- eISBN:
- 9780191719462
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199250677.003.0006
- Subject:
- Linguistics, Phonetics / Phonology
This chapter emphasizes the goal of the speaker as the production of a speech waveform containing the components, which will trigger adequate perception in the listener. Current limitations to ...
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This chapter emphasizes the goal of the speaker as the production of a speech waveform containing the components, which will trigger adequate perception in the listener. Current limitations to characterizing acoustic triggers are discussed, including the listener’s ability to differentiate acoustic signals and the non-linearity in the relation between the signal and listener. The relationship between rendering the speaker’s plan and the ability to assign a perceptually useful label to the speech waveform is emphasized.Less
This chapter emphasizes the goal of the speaker as the production of a speech waveform containing the components, which will trigger adequate perception in the listener. Current limitations to characterizing acoustic triggers are discussed, including the listener’s ability to differentiate acoustic signals and the non-linearity in the relation between the signal and listener. The relationship between rendering the speaker’s plan and the ability to assign a perceptually useful label to the speech waveform is emphasized.
Mark Tatham and Katherine Morton
- Published in print:
- 2003
- Published Online:
- September 2007
- ISBN:
- 9780199250677
- eISBN:
- 9780191719462
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199250677.003.0008
- Subject:
- Linguistics, Phonetics / Phonology
This chapter emphasizes the notion that human speech is listener-centred; speech is intended to be heard and understood. Adding expressive and emotive content provides the listener with information ...
More
This chapter emphasizes the notion that human speech is listener-centred; speech is intended to be heard and understood. Adding expressive and emotive content provides the listener with information about the speaker’s identity (gender, age, education, etc.), the speaker’s attitude and feelings toward the listener, and the nature of what is being said. Adding this to synthesis presents problems, including determining the most useful type of synthesizer, incorporating a proposed prosodic wrapper for speech, linking parameters of emotive content with acoustic parameters, and with underlying theory constructs such as category labels or parameters for driving the synthesizer. The relationship between high- and low-level synthesis, and how to incorporate a range of emotive content and voice quality are discussed.Less
This chapter emphasizes the notion that human speech is listener-centred; speech is intended to be heard and understood. Adding expressive and emotive content provides the listener with information about the speaker’s identity (gender, age, education, etc.), the speaker’s attitude and feelings toward the listener, and the nature of what is being said. Adding this to synthesis presents problems, including determining the most useful type of synthesizer, incorporating a proposed prosodic wrapper for speech, linking parameters of emotive content with acoustic parameters, and with underlying theory constructs such as category labels or parameters for driving the synthesizer. The relationship between high- and low-level synthesis, and how to incorporate a range of emotive content and voice quality are discussed.
Mark Tatham and Katherine Morton
- Published in print:
- 2003
- Published Online:
- September 2007
- ISBN:
- 9780199250677
- eISBN:
- 9780191719462
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199250677.003.0009
- Subject:
- Linguistics, Phonetics / Phonology
This chapter begins with a discussion of current synthesis systems and the current paradigm for research in the area. Expression is highlighted as important in contributing to the naturalness of ...
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This chapter begins with a discussion of current synthesis systems and the current paradigm for research in the area. Expression is highlighted as important in contributing to the naturalness of synthetic speech, as well as its general acceptance. An important research area concerns providing the synthesizer with listener feedback during ‘conversation’ between machine and human user — a largely neglected area in the development of synthesis. The theoretical concept of ‘ for perception’ and its synthesis is discussed.Less
This chapter begins with a discussion of current synthesis systems and the current paradigm for research in the area. Expression is highlighted as important in contributing to the naturalness of synthetic speech, as well as its general acceptance. An important research area concerns providing the synthesizer with listener feedback during ‘conversation’ between machine and human user — a largely neglected area in the development of synthesis. The theoretical concept of ‘ for perception’ and its synthesis is discussed.
Marc Benamou
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195189438
- eISBN:
- 9780199864232
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195189438.003.0007
- Subject:
- Music, Ethnomusicology, World Music
Chapter 7 continues the question raised in chapters 4 and 5 about factors contributing to the creation of rasa. But here, instead of music and rasa as a quality of the performer, the focus is on the ...
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Chapter 7 continues the question raised in chapters 4 and 5 about factors contributing to the creation of rasa. But here, instead of music and rasa as a quality of the performer, the focus is on the variety of rasas catalogued in chapter 3 and on specific musical traits associated with them. That is, the chapter seeks to identify, other factors being equal, what effects various musical procedures have on any particular rasa as it is perceived by an experienced listener.Less
Chapter 7 continues the question raised in chapters 4 and 5 about factors contributing to the creation of rasa. But here, instead of music and rasa as a quality of the performer, the focus is on the variety of rasas catalogued in chapter 3 and on specific musical traits associated with them. That is, the chapter seeks to identify, other factors being equal, what effects various musical procedures have on any particular rasa as it is perceived by an experienced listener.
Thomas H. Troeger
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195398885
- eISBN:
- 9780199866236
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195398885.003.0005
- Subject:
- Religion, Religion and Society
The final chapter returns to themes of the first chapter: the overtones of beauty and a theologically informed aesthetic. But now the author examines these concepts in light of the illustrative ...
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The final chapter returns to themes of the first chapter: the overtones of beauty and a theologically informed aesthetic. But now the author examines these concepts in light of the illustrative sermons and the experience of particular listeners as they received the sermon and the hymn or music or poem on which it was based. Although each sermon awakened some overtones more than others, there was a broad and grateful response for the sense of the Spirit that came through the integration of sermon and art. Reflecting on these varied responses, the author concludes that the place of beauty in preaching is far more than adding ornament to a fundamentally prosaic proclamation of the gospel. Rather, it lies at the heart of the church’s witness to Christ. We make room in our preaching and worship for beauty so that wonder may be reborn as God is known and experienced anew.Less
The final chapter returns to themes of the first chapter: the overtones of beauty and a theologically informed aesthetic. But now the author examines these concepts in light of the illustrative sermons and the experience of particular listeners as they received the sermon and the hymn or music or poem on which it was based. Although each sermon awakened some overtones more than others, there was a broad and grateful response for the sense of the Spirit that came through the integration of sermon and art. Reflecting on these varied responses, the author concludes that the place of beauty in preaching is far more than adding ornament to a fundamentally prosaic proclamation of the gospel. Rather, it lies at the heart of the church’s witness to Christ. We make room in our preaching and worship for beauty so that wonder may be reborn as God is known and experienced anew.
Keith Chapin and Lawrence Kramer (eds)
- Published in print:
- 2009
- Published Online:
- March 2011
- ISBN:
- 9780823230099
- eISBN:
- 9780823235445
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fso/9780823230099.001.0001
- Subject:
- Philosophy, Aesthetics
Musical understanding has evolved dramatically in recent years, principally through a heightened appreciation of musical meaning in its social, cultural, and philosophical dimensions. This book ...
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Musical understanding has evolved dramatically in recent years, principally through a heightened appreciation of musical meaning in its social, cultural, and philosophical dimensions. This book addresses an aspect of meaning that has not yet received its due: the relation of meaning in this broad humanistic sense to the shaping of fundamental values. The book examines the open and active circle between the values and valuations placed on music by both individuals and societies, and the discovery, through music, of what to value and how to value it. With a combination of cultural criticism and close readings of musical works, the chapters demonstrate repeatedly that to make music is also to make value, in every sense. They give particular attention to values that have historically enabled music to assume a formative role in human societies: to foster practices of contemplation, fantasy, and irony; to explore sexuality, subjectivity, and the uncanny; and to articulate longings for unity with nature and for moral certainty. Each chapter shows, in its own way, how music may provoke transformative reflection in its listeners and thus help guide humanity to its own essential embodiment in the world.Less
Musical understanding has evolved dramatically in recent years, principally through a heightened appreciation of musical meaning in its social, cultural, and philosophical dimensions. This book addresses an aspect of meaning that has not yet received its due: the relation of meaning in this broad humanistic sense to the shaping of fundamental values. The book examines the open and active circle between the values and valuations placed on music by both individuals and societies, and the discovery, through music, of what to value and how to value it. With a combination of cultural criticism and close readings of musical works, the chapters demonstrate repeatedly that to make music is also to make value, in every sense. They give particular attention to values that have historically enabled music to assume a formative role in human societies: to foster practices of contemplation, fantasy, and irony; to explore sexuality, subjectivity, and the uncanny; and to articulate longings for unity with nature and for moral certainty. Each chapter shows, in its own way, how music may provoke transformative reflection in its listeners and thus help guide humanity to its own essential embodiment in the world.
Asa Briggs
- Published in print:
- 1995
- Published Online:
- March 2012
- ISBN:
- 9780192129567
- eISBN:
- 9780191670022
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780192129567.003.0003
- Subject:
- History, British and Irish Modern History, Cultural History
This chapter explains that Great Britain's sitzkrieg with Germany actually started on September 1, 1939, two days before Prime Minister Neville Chamberlain's broadcast. It officially started when ...
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This chapter explains that Great Britain's sitzkrieg with Germany actually started on September 1, 1939, two days before Prime Minister Neville Chamberlain's broadcast. It officially started when orders had been signalled to every transmitting station and studio of the British Broadcasting Corporation (BBC) to change over to war conditions. During this time, freedom of choice disappeared for home listeners because BBC was only broadcasting one programme related to the war.Less
This chapter explains that Great Britain's sitzkrieg with Germany actually started on September 1, 1939, two days before Prime Minister Neville Chamberlain's broadcast. It officially started when orders had been signalled to every transmitting station and studio of the British Broadcasting Corporation (BBC) to change over to war conditions. During this time, freedom of choice disappeared for home listeners because BBC was only broadcasting one programme related to the war.
Christina L. Baade
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780195372014
- eISBN:
- 9780199918287
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195372014.003.0010
- Subject:
- Music, History, Western, Popular
The book concludes with a consideration of VE-Day and the initial shape of the better postwar future promised by the People's War. Near the end of the war, BBC Listener Research began to recognize ...
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The book concludes with a consideration of VE-Day and the initial shape of the better postwar future promised by the People's War. Near the end of the war, BBC Listener Research began to recognize that the omnibus category of dance music was really comprised of several different genres with their own distinct audiences. The BBC concluded that the youthful minority audience of swing fans, which had coalesced through Radio Rhythm Club and wartime service, deserved special programming, laying the groundwork for the broadcasting of traditional jazz, skiffle, and eventually rock ’n’ roll. Meanwhile, the BBC renewed its commitment to big bands and dance music, which dominated the postwar Light Programme and served as a bulwark against Americanization well into the rock era.Less
The book concludes with a consideration of VE-Day and the initial shape of the better postwar future promised by the People's War. Near the end of the war, BBC Listener Research began to recognize that the omnibus category of dance music was really comprised of several different genres with their own distinct audiences. The BBC concluded that the youthful minority audience of swing fans, which had coalesced through Radio Rhythm Club and wartime service, deserved special programming, laying the groundwork for the broadcasting of traditional jazz, skiffle, and eventually rock ’n’ roll. Meanwhile, the BBC renewed its commitment to big bands and dance music, which dominated the postwar Light Programme and served as a bulwark against Americanization well into the rock era.
Laura A. Carlson and Patrick L. Hill
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780199554201
- eISBN:
- 9780191721236
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199554201.003.0007
- Subject:
- Linguistics, Semantics and Pragmatics, Theoretical Linguistics
This chapter examines the formulation of spatial descriptions that include a target, a reference object, and a spatial term indicating their relation. Across various dialogue contexts, it examines ...
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This chapter examines the formulation of spatial descriptions that include a target, a reference object, and a spatial term indicating their relation. Across various dialogue contexts, it examines how speakers select these components. In the experiments speakers consistently selected reference objects in a preferred spatial relation, with a weak influence due to its features.Less
This chapter examines the formulation of spatial descriptions that include a target, a reference object, and a spatial term indicating their relation. Across various dialogue contexts, it examines how speakers select these components. In the experiments speakers consistently selected reference objects in a preferred spatial relation, with a weak influence due to its features.
Christina L. Baade
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780195372014
- eISBN:
- 9780199918287
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195372014.003.0009
- Subject:
- Music, History, Western, Popular
Focusing on 1944, “Invasion Year,” Chapter 8 explores how the BBC, British musicians, and fans negotiated the “special relationship” with their American allies and the potential threat that ...
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Focusing on 1944, “Invasion Year,” Chapter 8 explores how the BBC, British musicians, and fans negotiated the “special relationship” with their American allies and the potential threat that Americanization posed to a distinctly British culture. In the months surrounding D-Day, when American soldiers, Armed Forces Radio, and performers like Bing Crosby and Glenn Miller entered Great Britain in force, British dance musicians and enthusiasts welcomed the opportunity to observe American musicians in person. Meanwhile, the BBC became concerned with promoting British-style dance music, which it defined in opposition to American swing, and discouraging “pseudo-American” bands, like Geraldo's. Nationalism aside, dance music's value as a morale booster existed only so long as it remained popular. In 1944, BBC Listener Research determined that dance music had declined significantly in popularity, and programmers reduced its presence in the schedule—a decision that critics and performers, especially those who had contact with soldiers, contested.Less
Focusing on 1944, “Invasion Year,” Chapter 8 explores how the BBC, British musicians, and fans negotiated the “special relationship” with their American allies and the potential threat that Americanization posed to a distinctly British culture. In the months surrounding D-Day, when American soldiers, Armed Forces Radio, and performers like Bing Crosby and Glenn Miller entered Great Britain in force, British dance musicians and enthusiasts welcomed the opportunity to observe American musicians in person. Meanwhile, the BBC became concerned with promoting British-style dance music, which it defined in opposition to American swing, and discouraging “pseudo-American” bands, like Geraldo's. Nationalism aside, dance music's value as a morale booster existed only so long as it remained popular. In 1944, BBC Listener Research determined that dance music had declined significantly in popularity, and programmers reduced its presence in the schedule—a decision that critics and performers, especially those who had contact with soldiers, contested.
Arthur Berger
- Published in print:
- 2002
- Published Online:
- May 2012
- ISBN:
- 9780520232518
- eISBN:
- 9780520928213
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520232518.003.0001
- Subject:
- Music, History, American
This introductory chapter gives away the author's intention on compiling this study on contemporary music and musicians. This memoir is intended for musicians as well as for those who are dedicated ...
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This introductory chapter gives away the author's intention on compiling this study on contemporary music and musicians. This memoir is intended for musicians as well as for those who are dedicated listeners—to contemporary music in particular—but lack the professional tools and the ability to decode musical notation, for coping with technical discourse on music. It comprises two types of texts, one for informed reader and the other for uninformed. It can be observed that the text reflections are mostly in the form of memories of a time gone. The reflections are written not from the historian's vantage point, although the trends in composition are presented in somewhat chronological order. While the chapters in this book may be read separately or in a different order without causing any problem, there is a semblance of organization of a kind that is very much the same as what it would have been if they were a collection of previously published papers.Less
This introductory chapter gives away the author's intention on compiling this study on contemporary music and musicians. This memoir is intended for musicians as well as for those who are dedicated listeners—to contemporary music in particular—but lack the professional tools and the ability to decode musical notation, for coping with technical discourse on music. It comprises two types of texts, one for informed reader and the other for uninformed. It can be observed that the text reflections are mostly in the form of memories of a time gone. The reflections are written not from the historian's vantage point, although the trends in composition are presented in somewhat chronological order. While the chapters in this book may be read separately or in a different order without causing any problem, there is a semblance of organization of a kind that is very much the same as what it would have been if they were a collection of previously published papers.
Anastasia-Erasmia Peponi
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199798322
- eISBN:
- 9780199950393
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199798322.003.0004
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
Kêlêsisand thelxis, conveying slightly different nuances of intense auditory fascination and enchantment, are often discussed in archaic and classical texts in relation to the ...
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Kêlêsisand thelxis, conveying slightly different nuances of intense auditory fascination and enchantment, are often discussed in archaic and classical texts in relation to the Sirens’ song. A re-reading of the Odyssean episode alongside passages from choral poetry illuminates the distinctive position of the Sirens’ listener, an intermediate state between pure attendance and full participation in performance. The chapter finally argues that, in archaic thought, listening to the Sirens is conceptualized as a mode of fusing the listener into the performer. This unusual model of aesthetic response further explains Odysseus’s own prominent position as a listener in the Odyssey. It also serves as an example of how Greek thought, along with more familiar perceptions of the aesthetic, envisioned the death of the listener in his blissful union with the performer. This point is further discussed in relation to brief but incisive comments by Nietzsche about substantial gaps in modern aesthetic thought.Less
Kêlêsisand thelxis, conveying slightly different nuances of intense auditory fascination and enchantment, are often discussed in archaic and classical texts in relation to the Sirens’ song. A re-reading of the Odyssean episode alongside passages from choral poetry illuminates the distinctive position of the Sirens’ listener, an intermediate state between pure attendance and full participation in performance. The chapter finally argues that, in archaic thought, listening to the Sirens is conceptualized as a mode of fusing the listener into the performer. This unusual model of aesthetic response further explains Odysseus’s own prominent position as a listener in the Odyssey. It also serves as an example of how Greek thought, along with more familiar perceptions of the aesthetic, envisioned the death of the listener in his blissful union with the performer. This point is further discussed in relation to brief but incisive comments by Nietzsche about substantial gaps in modern aesthetic thought.
Roshanak Kheshti
- Published in print:
- 2000
- Published Online:
- May 2016
- ISBN:
- 9781479867011
- eISBN:
- 9781479861125
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479867011.003.0006
- Subject:
- Society and Culture, Cultural Studies
Chapter 5 discusses how the blurring of the lines between commerce, industry, and knowledge production has been the legacy of the world music culture industry. Desire and yearning for the sounds of ...
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Chapter 5 discusses how the blurring of the lines between commerce, industry, and knowledge production has been the legacy of the world music culture industry. Desire and yearning for the sounds of the other has helped to structure modern, so-called ultramodernist, and popular music forms in dynamic and aesthetic tension, continuing into the contemporary moment. This structure of desire has helped to train first-world listeners and music producers to listen for racialized gender and to structure their own listening subjectivity vis-à-vis, and often in opposition to, this alterity. But thanks to incorporation, the commodity chain has been delinked. The listener, now also in part the producer, aurally lays claim to sonic traditions and constitutes a key site of production. This chapter critically engages a long history of both Marxian and Freudian theorizing on fetishism in an effort to understand a recent shift to what I call the WMCI’s post-fetishization of traditional sounds, which coexists alongside the fetishism to which we’ve grown accustomed.Less
Chapter 5 discusses how the blurring of the lines between commerce, industry, and knowledge production has been the legacy of the world music culture industry. Desire and yearning for the sounds of the other has helped to structure modern, so-called ultramodernist, and popular music forms in dynamic and aesthetic tension, continuing into the contemporary moment. This structure of desire has helped to train first-world listeners and music producers to listen for racialized gender and to structure their own listening subjectivity vis-à-vis, and often in opposition to, this alterity. But thanks to incorporation, the commodity chain has been delinked. The listener, now also in part the producer, aurally lays claim to sonic traditions and constitutes a key site of production. This chapter critically engages a long history of both Marxian and Freudian theorizing on fetishism in an effort to understand a recent shift to what I call the WMCI’s post-fetishization of traditional sounds, which coexists alongside the fetishism to which we’ve grown accustomed.
Asa Briggs
- Published in print:
- 1995
- Published Online:
- October 2011
- ISBN:
- 9780192129307
- eISBN:
- 9780191670015
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780192129307.001.0001
- Subject:
- History, British and Irish Modern History, Cultural History
This is the second volume of a four-volume history of broadcasting in the United Kingdom. This volume covers the period from the beginning of 1927, when the BBC ceased to be a private company and ...
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This is the second volume of a four-volume history of broadcasting in the United Kingdom. This volume covers the period from the beginning of 1927, when the BBC ceased to be a private company and became a public corporation, up to the outbreak of war in 1939. The acceptance of wireless as a part of the homely background of life and the acceptance of the BBC as the ‘natural’ institution for controlling it, distinguish this period from that covered in the first volume. From 1927 to 1939 the system of public control that had evolved from the early struggles was never seriously in jeopardy and the one big official inquiry, the Ullswater Report, favoured no major constitutional changes. The main theme of the second volume, therefore, may be called the extension and the enrichment of the activity of broadcasting. Different chapters deal with the programmes and programme-makers; the listeners and the ways in which their needs were (or were not) met as the system expanded; public attitudes to the BBC and the increasing complexity of its control and organization; the coming of television and the early experiments of Baird and others; and the retirement of Sir John Reith — not only the end of a regime but the end of an era. The volume ends with preparations for war.Less
This is the second volume of a four-volume history of broadcasting in the United Kingdom. This volume covers the period from the beginning of 1927, when the BBC ceased to be a private company and became a public corporation, up to the outbreak of war in 1939. The acceptance of wireless as a part of the homely background of life and the acceptance of the BBC as the ‘natural’ institution for controlling it, distinguish this period from that covered in the first volume. From 1927 to 1939 the system of public control that had evolved from the early struggles was never seriously in jeopardy and the one big official inquiry, the Ullswater Report, favoured no major constitutional changes. The main theme of the second volume, therefore, may be called the extension and the enrichment of the activity of broadcasting. Different chapters deal with the programmes and programme-makers; the listeners and the ways in which their needs were (or were not) met as the system expanded; public attitudes to the BBC and the increasing complexity of its control and organization; the coming of television and the early experiments of Baird and others; and the retirement of Sir John Reith — not only the end of a regime but the end of an era. The volume ends with preparations for war.
Michael Macovski
- Published in print:
- 1994
- Published Online:
- October 2011
- ISBN:
- 9780195069655
- eISBN:
- 9780199855186
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195069655.003.0003
- Subject:
- Literature, 19th-century Literature and Romanticism
This chapter conducts an analysis of Coleridge's landmark work, the “Rime.” It posits that the continuing diversity of reactions and interpretations of the said piece is due to the central structure ...
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This chapter conducts an analysis of Coleridge's landmark work, the “Rime.” It posits that the continuing diversity of reactions and interpretations of the said piece is due to the central structure of the narrative itself, which exhibits a rhetorical disjunction between the speakers and listeners. The latter is deemed to be a representation of the readers of the poem and seems to suggest designated and desired responses. This distinct type of disjunctive colloquy is suggested by the author to be uniquely Coleridgean. In the remaining sections, the author demonstrates how Coleridge's prose and poetry exhibit this characteristic dialogue between two opposing and unequal points of view. Another important element in Coleridge's work is the existence of “hidden notions” in the text, which differentiates great poetry from the rest of the rabble by being able to engage the minds of readers across generations in infinite ways.Less
This chapter conducts an analysis of Coleridge's landmark work, the “Rime.” It posits that the continuing diversity of reactions and interpretations of the said piece is due to the central structure of the narrative itself, which exhibits a rhetorical disjunction between the speakers and listeners. The latter is deemed to be a representation of the readers of the poem and seems to suggest designated and desired responses. This distinct type of disjunctive colloquy is suggested by the author to be uniquely Coleridgean. In the remaining sections, the author demonstrates how Coleridge's prose and poetry exhibit this characteristic dialogue between two opposing and unequal points of view. Another important element in Coleridge's work is the existence of “hidden notions” in the text, which differentiates great poetry from the rest of the rabble by being able to engage the minds of readers across generations in infinite ways.
Michael Macovski
- Published in print:
- 1994
- Published Online:
- October 2011
- ISBN:
- 9780195069655
- eISBN:
- 9780199855186
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195069655.003.0006
- Subject:
- Literature, 19th-century Literature and Romanticism
This chapter discusses the decline in the popularity of dialogue as the main method of exposition in the nineteenth century. This is illustrated in Conrad's literary pieces and in the difficulty of ...
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This chapter discusses the decline in the popularity of dialogue as the main method of exposition in the nineteenth century. This is illustrated in Conrad's literary pieces and in the difficulty of interpreting his work. Traditional critics focus on the main character—Marlow's—narrative idiosyncrasies in Conrad's “Heart of Darkness.” The author posits that this may indicate Conrad's desire to establish an alternative type of dialogue in which the speaker or silent listener cannot trust or verify the statements of the narrator. This unique form of rhetoric and its implications are further analyzed and interpreted as the main character progresses through the novella's plot. The author cites how the novella becomes a sequence of apostrophes wherein each narration constitutes an attempt at dialogue, despite the lack of conventional conversational techniques and modes of corroboration. The remaining section discusses how these apparent “limitations” are transcended in Conrad's unique rhetoric.Less
This chapter discusses the decline in the popularity of dialogue as the main method of exposition in the nineteenth century. This is illustrated in Conrad's literary pieces and in the difficulty of interpreting his work. Traditional critics focus on the main character—Marlow's—narrative idiosyncrasies in Conrad's “Heart of Darkness.” The author posits that this may indicate Conrad's desire to establish an alternative type of dialogue in which the speaker or silent listener cannot trust or verify the statements of the narrator. This unique form of rhetoric and its implications are further analyzed and interpreted as the main character progresses through the novella's plot. The author cites how the novella becomes a sequence of apostrophes wherein each narration constitutes an attempt at dialogue, despite the lack of conventional conversational techniques and modes of corroboration. The remaining section discusses how these apparent “limitations” are transcended in Conrad's unique rhetoric.
André Zampaulo
- Published in print:
- 2019
- Published Online:
- August 2019
- ISBN:
- 9780198807384
- eISBN:
- 9780191845000
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198807384.001.0001
- Subject:
- Linguistics, Historical Linguistics, Phonetics / Phonology
This monograph presents a thorough investigation of the main historical and present-day variation and change patterns undergone by palatal sounds in the Romance languages. By relying on phonetic and ...
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This monograph presents a thorough investigation of the main historical and present-day variation and change patterns undergone by palatal sounds in the Romance languages. By relying on phonetic and phonological information to motivate a formal account of palatal sound change, the analyses proposed in this book offer a principled, constraint-based explanation for the evolution of palatals in the Romance-speaking world. It provides a robust and up-to-date literature review on the subject, taking into consideration not only the viewpoints and data from diachronic research, but also the results from various phonetic, phonological, dialectal, and comprehensive studies. By taking into account the role of phonetic information in the shaping of phonological patterns, this book approaches sound change from its inception during the speaker-listener interaction and formalizes it as the difference in constraint ranking between the grammar of the speaker and that of the listener-turned-speaker. This perspective is intended to model how and why similar change events may take place in different varieties and/or the same language across periods of time.Less
This monograph presents a thorough investigation of the main historical and present-day variation and change patterns undergone by palatal sounds in the Romance languages. By relying on phonetic and phonological information to motivate a formal account of palatal sound change, the analyses proposed in this book offer a principled, constraint-based explanation for the evolution of palatals in the Romance-speaking world. It provides a robust and up-to-date literature review on the subject, taking into consideration not only the viewpoints and data from diachronic research, but also the results from various phonetic, phonological, dialectal, and comprehensive studies. By taking into account the role of phonetic information in the shaping of phonological patterns, this book approaches sound change from its inception during the speaker-listener interaction and formalizes it as the difference in constraint ranking between the grammar of the speaker and that of the listener-turned-speaker. This perspective is intended to model how and why similar change events may take place in different varieties and/or the same language across periods of time.
Asa Briggs
- Published in print:
- 1995
- Published Online:
- October 2011
- ISBN:
- 9780192129307
- eISBN:
- 9780191670015
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780192129307.003.0003
- Subject:
- History, British and Irish Modern History, Cultural History
The chapter traces the responses of the listeners both at home in Britain and abroad. The number of licence-holders in Britain increased steadily in the 1930s. The figures further climbed in the ...
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The chapter traces the responses of the listeners both at home in Britain and abroad. The number of licence-holders in Britain increased steadily in the 1930s. The figures further climbed in the years of economic depression. Britain was next only to the United States in the ranking order of countries with large numbers of wireless sets. On the eve of the Second World War, the Midlands and the west of England had the greatest density of distribution of wireless licences. The BBC's deliberate policy to spread the service resulted in the complete coverage of the remotest parts of Britain including areas such as northern Scotland. This chapter provides a detailed account of listener research that began in the United States as a branch of market research in order to understand better listeners’ preference.Less
The chapter traces the responses of the listeners both at home in Britain and abroad. The number of licence-holders in Britain increased steadily in the 1930s. The figures further climbed in the years of economic depression. Britain was next only to the United States in the ranking order of countries with large numbers of wireless sets. On the eve of the Second World War, the Midlands and the west of England had the greatest density of distribution of wireless licences. The BBC's deliberate policy to spread the service resulted in the complete coverage of the remotest parts of Britain including areas such as northern Scotland. This chapter provides a detailed account of listener research that began in the United States as a branch of market research in order to understand better listeners’ preference.
