David Brown
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780199231836
- eISBN:
- 9780191716201
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199231836.003.0007
- Subject:
- Religion, Theology
This chapter explores the tradition of liturgical and choral music. It begins by considering the medieval situation and the ideals on which it operated. It then examines the attempt to reform the ...
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This chapter explores the tradition of liturgical and choral music. It begins by considering the medieval situation and the ideals on which it operated. It then examines the attempt to reform the principles under which Gregorian chant and polyphony were sung (the latter in the 16th century, both in the 19th), before going on to examine how Protestant and Catholic traditions interacted to produce the situation we now find ourselves in. Finally, it considers what kind of contribution the Church might expect from such music today.Less
This chapter explores the tradition of liturgical and choral music. It begins by considering the medieval situation and the ideals on which it operated. It then examines the attempt to reform the principles under which Gregorian chant and polyphony were sung (the latter in the 16th century, both in the 19th), before going on to examine how Protestant and Catholic traditions interacted to produce the situation we now find ourselves in. Finally, it considers what kind of contribution the Church might expect from such music today.
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/9780195173574.003.0004
- Subject:
- Music, History, Western
Conceived as a consortium of solo voices, a Haydn quartet is perpetually vulnerable to having the norm of first-violin leadership challenged, compromised, complicated, or temporarily overturned. The ...
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Conceived as a consortium of solo voices, a Haydn quartet is perpetually vulnerable to having the norm of first-violin leadership challenged, compromised, complicated, or temporarily overturned. The almost ubiquitously destabilized environment that prevails involves continuously changing relationships among the instruments, a concomitant variety of texture, sonority, and register, and numerous devices for blending and separating different strands of line and accompaniment. Separation is most intense in soloistic passages for the first violin, which occasionally climbs to its highest range. In addition to such vividly opposed states as strident unison and blended, hymn-like homophony, there are allusions to strict polyphony, including examples of canon and fugue, and many instances of loosely woven, conversational texture in which thematic threads pass from one part to another. Special effects include bagpipe-imitating drone basses, pizzicato, and the use of mutes (con sordino).Less
Conceived as a consortium of solo voices, a Haydn quartet is perpetually vulnerable to having the norm of first-violin leadership challenged, compromised, complicated, or temporarily overturned. The almost ubiquitously destabilized environment that prevails involves continuously changing relationships among the instruments, a concomitant variety of texture, sonority, and register, and numerous devices for blending and separating different strands of line and accompaniment. Separation is most intense in soloistic passages for the first violin, which occasionally climbs to its highest range. In addition to such vividly opposed states as strident unison and blended, hymn-like homophony, there are allusions to strict polyphony, including examples of canon and fugue, and many instances of loosely woven, conversational texture in which thematic threads pass from one part to another. Special effects include bagpipe-imitating drone basses, pizzicato, and the use of mutes (con sordino).
Vanessa Agnew
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195336665
- eISBN:
- 9780199868544
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195336665.003.0003
- Subject:
- Music, History, Western
In examining the status of music in the cross-cultural encounter, this chapter focuses on Captain Cook's second voyage (1772-5) and the role played by Burney's son James and the German naturalist ...
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In examining the status of music in the cross-cultural encounter, this chapter focuses on Captain Cook's second voyage (1772-5) and the role played by Burney's son James and the German naturalist Georg Forster in transcribing and commenting on Polynesian music. It shows that the discovery of part singing in New Zealand and Tonga conflicted with Rousseauvian assertions about polyphony as an exclusively European invention. Music scholars like Charles Burney, Johann Nicolaus Forkel, Eduard Hanslick, and August Wilhelm Ambros subsequently played down the polyphonic and affective character of Polynesian music so as to uphold theories about music's universal progress and its hierarchical ordering. The chapter argues that this move, and others like it, had lasting implications for the development of western musicology and ethnomusicology, which would come to be predicated on a series of radical distinctions between the European and non-European. Where Orpheus had once signified the harmonizing powers of music, he would now be transformed into a cautionary tale about musical difference and the dangers of music's instrumentality.Less
In examining the status of music in the cross-cultural encounter, this chapter focuses on Captain Cook's second voyage (1772-5) and the role played by Burney's son James and the German naturalist Georg Forster in transcribing and commenting on Polynesian music. It shows that the discovery of part singing in New Zealand and Tonga conflicted with Rousseauvian assertions about polyphony as an exclusively European invention. Music scholars like Charles Burney, Johann Nicolaus Forkel, Eduard Hanslick, and August Wilhelm Ambros subsequently played down the polyphonic and affective character of Polynesian music so as to uphold theories about music's universal progress and its hierarchical ordering. The chapter argues that this move, and others like it, had lasting implications for the development of western musicology and ethnomusicology, which would come to be predicated on a series of radical distinctions between the European and non-European. Where Orpheus had once signified the harmonizing powers of music, he would now be transformed into a cautionary tale about musical difference and the dangers of music's instrumentality.
Wulf Arlt
- Published in print:
- 2000
- Published Online:
- May 2008
- ISBN:
- 9780195124538
- eISBN:
- 9780199868421
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195124538.003.0015
- Subject:
- Music, History, Western
The Office for the Feast of Circumcision (sometimes called the Feast of Fools) was celebrated throughout the more than twenty-four hours starting with First Vespers on 31 December and lasting through ...
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The Office for the Feast of Circumcision (sometimes called the Feast of Fools) was celebrated throughout the more than twenty-four hours starting with First Vespers on 31 December and lasting through Compline of New Year's Day. This elaborate Office, one of several designed for celebration by clerical orders during the Octave of Christmas, is preserved in great detail in a 16th-century MS from Le Puy. Evidence confirms, however, that the Office itself dates from at least the 13th century. This chapter discusses the sources and history of this Office — known as Bozolari — and its music, and places them in the context of earlier traditions from Beauvais, Paris, and Sens.Less
The Office for the Feast of Circumcision (sometimes called the Feast of Fools) was celebrated throughout the more than twenty-four hours starting with First Vespers on 31 December and lasting through Compline of New Year's Day. This elaborate Office, one of several designed for celebration by clerical orders during the Octave of Christmas, is preserved in great detail in a 16th-century MS from Le Puy. Evidence confirms, however, that the Office itself dates from at least the 13th century. This chapter discusses the sources and history of this Office — known as Bozolari — and its music, and places them in the context of earlier traditions from Beauvais, Paris, and Sens.
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/9780195173574.003.0013
- Subject:
- Music, History, Western
Dedicated to Friedrich Wilhelm II and known as the “Prussian” quartets, these difficult works were clearly designed for connoisseurs. Their sale and early publication history involved complex, ...
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Dedicated to Friedrich Wilhelm II and known as the “Prussian” quartets, these difficult works were clearly designed for connoisseurs. Their sale and early publication history involved complex, evidently devious negotiations with the publishers Artaria in Vienna and William Forster in London. A distinctive first-movement trait involves a new kind of relationship between meter and surface rhythm (a fast alla breve with much triplet figuration), which fosters fluid rhythmic momentum and broad melodic trajectories. Dance movements are notable for their metrical dissonances and thematic connections between minuet and trio. Learned polyphony is emphasized most notably in the fugal finale of Op. 50/4. Other finales display elaborate sonata forms, several of which have multiple, rondo-like recurrences of primary-theme material. Possibly a musical response to Mozart's recently completed “Dedication” quartets, Op. 50 rivals Mozart's contemporaneous works in promoting the quartet's ascendancy as an aristocrat among instrumental genres.Less
Dedicated to Friedrich Wilhelm II and known as the “Prussian” quartets, these difficult works were clearly designed for connoisseurs. Their sale and early publication history involved complex, evidently devious negotiations with the publishers Artaria in Vienna and William Forster in London. A distinctive first-movement trait involves a new kind of relationship between meter and surface rhythm (a fast alla breve with much triplet figuration), which fosters fluid rhythmic momentum and broad melodic trajectories. Dance movements are notable for their metrical dissonances and thematic connections between minuet and trio. Learned polyphony is emphasized most notably in the fugal finale of Op. 50/4. Other finales display elaborate sonata forms, several of which have multiple, rondo-like recurrences of primary-theme material. Possibly a musical response to Mozart's recently completed “Dedication” quartets, Op. 50 rivals Mozart's contemporaneous works in promoting the quartet's ascendancy as an aristocrat among instrumental genres.
Alessandro Barchiesi
- Published in print:
- 2015
- Published Online:
- October 2017
- ISBN:
- 9780691161815
- eISBN:
- 9781400852482
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691161815.003.0003
- Subject:
- Literature, Criticism/Theory
This chapter considers some of the narrative strategies and their relative effects of sense in the Aeneid. What matters here is grasping the specific way the complexity of cultural presuppositions ...
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This chapter considers some of the narrative strategies and their relative effects of sense in the Aeneid. What matters here is grasping the specific way the complexity of cultural presuppositions (and their interactions) acts in reading as a source of complex meanings—that is, tightening the link between the density of literary signification and the multitude of implied models. This chapter marks out the elusive pathway that unites two discursive manifestations in Vergil's epic poetry which are quite distinct from one another: an ideological contradiction and a narrative “polyphony.” It then concludes with the form and workmanship of a “pluri-isotopic” narrative text.Less
This chapter considers some of the narrative strategies and their relative effects of sense in the Aeneid. What matters here is grasping the specific way the complexity of cultural presuppositions (and their interactions) acts in reading as a source of complex meanings—that is, tightening the link between the density of literary signification and the multitude of implied models. This chapter marks out the elusive pathway that unites two discursive manifestations in Vergil's epic poetry which are quite distinct from one another: an ideological contradiction and a narrative “polyphony.” It then concludes with the form and workmanship of a “pluri-isotopic” narrative text.
Jonathan E. Glixon
- Published in print:
- 2003
- Published Online:
- May 2008
- ISBN:
- 9780195134896
- eISBN:
- 9780199868049
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195134896.003.0004
- Subject:
- Music, History, Western
This chapter examines the issue of paid singers of polyphony. First used in the middle of the 15th century, these men were also brothers of the scuole grandi for which they sang. They were paid ...
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This chapter examines the issue of paid singers of polyphony. First used in the middle of the 15th century, these men were also brothers of the scuole grandi for which they sang. They were paid relatively small fees for services at funerals and in processions, where laude were sung (these two tasks were sometimes assigned to different groups). These singers were not especially reliable, and discipline problems were common. In the 1490s, some scuole began to employ, on an occasional basis, professional singers from the chapel of San Marco. The question of repertory and the employment of wind and string instrument players and organists are also addressed.Less
This chapter examines the issue of paid singers of polyphony. First used in the middle of the 15th century, these men were also brothers of the scuole grandi for which they sang. They were paid relatively small fees for services at funerals and in processions, where laude were sung (these two tasks were sometimes assigned to different groups). These singers were not especially reliable, and discipline problems were common. In the 1490s, some scuole began to employ, on an occasional basis, professional singers from the chapel of San Marco. The question of repertory and the employment of wind and string instrument players and organists are also addressed.
R. J. Littlewood
- Published in print:
- 2002
- Published Online:
- September 2007
- ISBN:
- 9780198154754
- eISBN:
- 9780191715457
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198154754.003.0008
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
Analyzing Numa’s role in Fasti, this chapter examines the polyphonic character of Ovid’s comparison with Augustus of Numa, traditional founder of Roman cult. In an analysis of a passage describing ...
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Analyzing Numa’s role in Fasti, this chapter examines the polyphonic character of Ovid’s comparison with Augustus of Numa, traditional founder of Roman cult. In an analysis of a passage describing the aetiology of the ancilia, the sacred shields of Mars’ worship in Book Three, this chapter argues that the poet appears to celebrate the years when the young Augustus’ name was incorporated into the hymn of the Salii and presented with the Clupeus Virtutis, using intertextual allusions to Virgil’s Aristaeus episode to evoke the imagery of the great literary shields. It argues for the emergence of characteristic ambivalence in the central section where Ovid recasts Numa as a silver-tongued subject outwitting an autocratic Jupiter, a situation metaphorically underlined by the motif of a lightning strike which Numa is compelled to expiate and the poet’s parenthetic aside concerning what must remain unsaid.Less
Analyzing Numa’s role in Fasti, this chapter examines the polyphonic character of Ovid’s comparison with Augustus of Numa, traditional founder of Roman cult. In an analysis of a passage describing the aetiology of the ancilia, the sacred shields of Mars’ worship in Book Three, this chapter argues that the poet appears to celebrate the years when the young Augustus’ name was incorporated into the hymn of the Salii and presented with the Clupeus Virtutis, using intertextual allusions to Virgil’s Aristaeus episode to evoke the imagery of the great literary shields. It argues for the emergence of characteristic ambivalence in the central section where Ovid recasts Numa as a silver-tongued subject outwitting an autocratic Jupiter, a situation metaphorically underlined by the motif of a lightning strike which Numa is compelled to expiate and the poet’s parenthetic aside concerning what must remain unsaid.
Barbara Czarniawska
- Published in print:
- 1999
- Published Online:
- January 2010
- ISBN:
- 9780198296140
- eISBN:
- 9780191716584
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198296140.001.0001
- Subject:
- Business and Management, Organization Studies
This book provides an alternative perspective on organization studies, introducing an approach that draws on narratology, literary theory, cultural studies, and anthropology, contrasting it with the ...
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This book provides an alternative perspective on organization studies, introducing an approach that draws on narratology, literary theory, cultural studies, and anthropology, contrasting it with the assumptions of the positivist social science. It reflects on such issues as possibility of combining narrative and scientific knowledge, the presence and absence of plot in organization studies, the dominance of the realistic stylization in organization studies, the relationship between organization studies and detective stories, and the challenge of polyphony in organization studies. The aim of the book is to demonstrate how the art of persuasion (as opposed to the simple presentation of facts) can be deployed in social sciences in general and in management and organization studies in particular. Management and organization studies confront the world that is polyphonic and polysemic. The task of the discipline is to render this state of affairs in adequate texts.Less
This book provides an alternative perspective on organization studies, introducing an approach that draws on narratology, literary theory, cultural studies, and anthropology, contrasting it with the assumptions of the positivist social science. It reflects on such issues as possibility of combining narrative and scientific knowledge, the presence and absence of plot in organization studies, the dominance of the realistic stylization in organization studies, the relationship between organization studies and detective stories, and the challenge of polyphony in organization studies. The aim of the book is to demonstrate how the art of persuasion (as opposed to the simple presentation of facts) can be deployed in social sciences in general and in management and organization studies in particular. Management and organization studies confront the world that is polyphonic and polysemic. The task of the discipline is to render this state of affairs in adequate texts.
Carl Stumpf
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199695737
- eISBN:
- 9780191742286
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199695737.003.0003
- Subject:
- Psychology, Music Psychology, Developmental Psychology
This chapter presents Part I of Carl Stumpf's The Origins of Music, which explores the topic of music's origination. It discusses the recent hypotheses concerning the origins of music; the origin and ...
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This chapter presents Part I of Carl Stumpf's The Origins of Music, which explores the topic of music's origination. It discusses the recent hypotheses concerning the origins of music; the origin and archetypes of singing; primitive instruments and their influence; polyphony, rhythm, and intoned speech; and paths of development.Less
This chapter presents Part I of Carl Stumpf's The Origins of Music, which explores the topic of music's origination. It discusses the recent hypotheses concerning the origins of music; the origin and archetypes of singing; primitive instruments and their influence; polyphony, rhythm, and intoned speech; and paths of development.
Steven Connor
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780198184331
- eISBN:
- 9780191674204
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198184331.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
Why can none of us hear our own recorded voice without wincing? Why is the telephone still full of such spookiness and erotic possibility? Why does the metaphor of ventriloquism, the art of ‘seeming ...
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Why can none of us hear our own recorded voice without wincing? Why is the telephone still full of such spookiness and erotic possibility? Why does the metaphor of ventriloquism, the art of ‘seeming to speak where one is not’, speak so resonantly to our contemporary technological condition? These are the kind of questions which impel this inquisitive history of ventriloquism and the disembodied voice. This book tracks the subject from its first recorded beginnings in ancient Israel and Greece, through the fulminations of early Christian writers against the unholy (and, they believed, obscenely produced) practices of pagan divination, the aberrations of the voice in mysticism, witchcraft and possession, and the strange obsession with the vagrant figure of the ventriloquist, newly conceived as male rather than female, during the Enlightenment. It retrieves the stories of some of the most popular and versatile ventriloquists and polyphonists of the 19th century, and investigates the survival of ventriloquial delusions and desires in spiritualism and the ‘vocalic uncanny’ of technologies like telephone, radio, film, and internet.Less
Why can none of us hear our own recorded voice without wincing? Why is the telephone still full of such spookiness and erotic possibility? Why does the metaphor of ventriloquism, the art of ‘seeming to speak where one is not’, speak so resonantly to our contemporary technological condition? These are the kind of questions which impel this inquisitive history of ventriloquism and the disembodied voice. This book tracks the subject from its first recorded beginnings in ancient Israel and Greece, through the fulminations of early Christian writers against the unholy (and, they believed, obscenely produced) practices of pagan divination, the aberrations of the voice in mysticism, witchcraft and possession, and the strange obsession with the vagrant figure of the ventriloquist, newly conceived as male rather than female, during the Enlightenment. It retrieves the stories of some of the most popular and versatile ventriloquists and polyphonists of the 19th century, and investigates the survival of ventriloquial delusions and desires in spiritualism and the ‘vocalic uncanny’ of technologies like telephone, radio, film, and internet.
Dennis Tedlock
- Published in print:
- 1998
- Published Online:
- October 2011
- ISBN:
- 9780195109924
- eISBN:
- 9780199855261
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195109924.003.0009
- Subject:
- Literature, Poetry
If a poem is supposed to consist of exactly the right words and no others, then there are multiple worlds in which poems are never quite finished. In some of these worlds poets use writing that ...
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If a poem is supposed to consist of exactly the right words and no others, then there are multiple worlds in which poems are never quite finished. In some of these worlds poets use writing that requires a text to be fixed for all times and places. Each of the poetic moves in this first of all human sentences can be found elsewhere in Quiche and other Mayan poetry. There are times when parallel words or phrases converge on saying nearly the same thing, which also sheds light on how contemporary speakers of Quiche, constructing the relationship between language and experience. Whether parallel words or phrases refer to the same object, or else point to objects, they constantly work against the notion that an isomorphism between words and their objects could actually be realized.Less
If a poem is supposed to consist of exactly the right words and no others, then there are multiple worlds in which poems are never quite finished. In some of these worlds poets use writing that requires a text to be fixed for all times and places. Each of the poetic moves in this first of all human sentences can be found elsewhere in Quiche and other Mayan poetry. There are times when parallel words or phrases converge on saying nearly the same thing, which also sheds light on how contemporary speakers of Quiche, constructing the relationship between language and experience. Whether parallel words or phrases refer to the same object, or else point to objects, they constantly work against the notion that an isomorphism between words and their objects could actually be realized.
Susanne Fürniss
- Published in print:
- 2006
- Published Online:
- January 2010
- ISBN:
- 9780195177893
- eISBN:
- 9780199864843
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195177893.003.0006
- Subject:
- Music, Theory, Analysis, Composition
This chapter is an in-depth analysis of music of the Aka Pygmies of the Central African Republic: Introduction to the Aka; Research Method; The Aka's Conception of Polyphonic Singing: Cognitive ...
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This chapter is an in-depth analysis of music of the Aka Pygmies of the Central African Republic: Introduction to the Aka; Research Method; The Aka's Conception of Polyphonic Singing: Cognitive Premises; Patterns and Variation Techniques; Yodelling and Melodic Variations; The Polyphonic Pattern and the Substratum of the Song; Musical Practice: Juggling with the Substratum; Pathways Through the Material.Less
This chapter is an in-depth analysis of music of the Aka Pygmies of the Central African Republic: Introduction to the Aka; Research Method; The Aka's Conception of Polyphonic Singing: Cognitive Premises; Patterns and Variation Techniques; Yodelling and Melodic Variations; The Polyphonic Pattern and the Substratum of the Song; Musical Practice: Juggling with the Substratum; Pathways Through the Material.
Claire Davison, Gerri Kimber, and W. Todd Martin (eds)
- Published in print:
- 2015
- Published Online:
- May 2017
- ISBN:
- 9781474400381
- eISBN:
- 9781474416054
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474400381.001.0001
- Subject:
- Literature, Women's Literature
Our understanding of Anglophone modernism has been transformed by recent critical interest in translation. The central place of translation in the circulation of aesthetic and political ideas in the ...
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Our understanding of Anglophone modernism has been transformed by recent critical interest in translation. The central place of translation in the circulation of aesthetic and political ideas in the early twentieth century has been underlined, for example, as well as translation’s place in the creative and poetic dynamics of key modernist texts. This volume of Katherine Mansfield Studies offers a timely assessment of Mansfield’s place in such exchanges. As a reviewer, she developed a specific interest in literatures in translation, as well as showing a keen awareness of the translator’s presence in the text. Throughout her life, Mansfield engaged with new literary texts through translation, either translating proficiently herself, or working alongside a co-translator to explore the semantic and stylistic challenges of partially known languages. The metaphorical resonances of translating, transition and marginality also remain key features of her writing throughout her life. Meanwhile, her enduring popularity abroad is ensured by translations of her works, all of which reveal sociological and even ideological agendas of their own, an inevitable reflection of individual translators’ readings of her works, and the literary traditions of the new country and language of reception. The contributions to this volume refine and extend our appreciation of her specifically trans-linguistic and trans-literary lives. They illuminate the specific and more general influences of translation on Mansfield’s evolving technique and, jointly, they reveal the importance of translation on her literary language, as well as for her own particular brand of modernism.Less
Our understanding of Anglophone modernism has been transformed by recent critical interest in translation. The central place of translation in the circulation of aesthetic and political ideas in the early twentieth century has been underlined, for example, as well as translation’s place in the creative and poetic dynamics of key modernist texts. This volume of Katherine Mansfield Studies offers a timely assessment of Mansfield’s place in such exchanges. As a reviewer, she developed a specific interest in literatures in translation, as well as showing a keen awareness of the translator’s presence in the text. Throughout her life, Mansfield engaged with new literary texts through translation, either translating proficiently herself, or working alongside a co-translator to explore the semantic and stylistic challenges of partially known languages. The metaphorical resonances of translating, transition and marginality also remain key features of her writing throughout her life. Meanwhile, her enduring popularity abroad is ensured by translations of her works, all of which reveal sociological and even ideological agendas of their own, an inevitable reflection of individual translators’ readings of her works, and the literary traditions of the new country and language of reception. The contributions to this volume refine and extend our appreciation of her specifically trans-linguistic and trans-literary lives. They illuminate the specific and more general influences of translation on Mansfield’s evolving technique and, jointly, they reveal the importance of translation on her literary language, as well as for her own particular brand of modernism.
Bernard D. Sherman
- Published in print:
- 2003
- Published Online:
- January 2010
- ISBN:
- 9780195169454
- eISBN:
- 9780199865017
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195169454.003.0005
- Subject:
- Music, History, Western
Christopher Page first ruffled the early-music world in the late 1970s, when he (and, independently, the American scholar Craig Wright) put forward a radical hypothesis. It held that the instruments ...
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Christopher Page first ruffled the early-music world in the late 1970s, when he (and, independently, the American scholar Craig Wright) put forward a radical hypothesis. It held that the instruments popularized by Noah Greenberg, Thomas Binkley, and David Munrow were modern impositions; that medieval polyphony was usually performed with voices taking every line and with little or, more often, no instrumental accompaniment; and that even monophonic music may often have been sung unaccompanied. Audiences and performers had come to love those shawms and rebecs, and scholars had supported their use, so it is not surprising that the idea was hardly welcomed—except, significantly, in the United Kingdom, with its wealth of cathedral-trained singers. This chapter presents an interview with Page on medieval music, the medieval experience of music, secular song performance, complex three-texted motets, sacred music and chant, connection of music with mathematics and science, historical performances and how to recognize them, accuracy of duration, and expressiveness in singing texts.Less
Christopher Page first ruffled the early-music world in the late 1970s, when he (and, independently, the American scholar Craig Wright) put forward a radical hypothesis. It held that the instruments popularized by Noah Greenberg, Thomas Binkley, and David Munrow were modern impositions; that medieval polyphony was usually performed with voices taking every line and with little or, more often, no instrumental accompaniment; and that even monophonic music may often have been sung unaccompanied. Audiences and performers had come to love those shawms and rebecs, and scholars had supported their use, so it is not surprising that the idea was hardly welcomed—except, significantly, in the United Kingdom, with its wealth of cathedral-trained singers. This chapter presents an interview with Page on medieval music, the medieval experience of music, secular song performance, complex three-texted motets, sacred music and chant, connection of music with mathematics and science, historical performances and how to recognize them, accuracy of duration, and expressiveness in singing texts.
Barbara Foley
- Published in print:
- 2014
- Published Online:
- April 2017
- ISBN:
- 9780252038440
- eISBN:
- 9780252096327
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038440.003.0008
- Subject:
- Literature, African-American Literature
This concluding chapter offers a brief consideration of the relationship between history and form in Cane. Given the wide range of interpretations of the text's parts, it comes as no surprise that ...
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This concluding chapter offers a brief consideration of the relationship between history and form in Cane. Given the wide range of interpretations of the text's parts, it comes as no surprise that critics have presented dramatically differing interpretations of the whole. Some have discerned a progression toward resolution and synthesis; others a suspended state of fragmentation and division; while others a triumphant achievement of polyphony and hybridity. With a few noteworthy exceptions, however, commentaries on Cane have largely overlooked the text's engagement with history. They may address Cane's representation of the present as an outgrowth of the past, and its connection with contemporaneous racial discourses and practices, but they do not generally treat the text's form as itself an enactment of the historical contradictions shaping the time and place of its creation.Less
This concluding chapter offers a brief consideration of the relationship between history and form in Cane. Given the wide range of interpretations of the text's parts, it comes as no surprise that critics have presented dramatically differing interpretations of the whole. Some have discerned a progression toward resolution and synthesis; others a suspended state of fragmentation and division; while others a triumphant achievement of polyphony and hybridity. With a few noteworthy exceptions, however, commentaries on Cane have largely overlooked the text's engagement with history. They may address Cane's representation of the present as an outgrowth of the past, and its connection with contemporaneous racial discourses and practices, but they do not generally treat the text's form as itself an enactment of the historical contradictions shaping the time and place of its creation.
Kathryn Lachman
- Published in print:
- 2014
- Published Online:
- January 2015
- ISBN:
- 9781781380307
- eISBN:
- 9781781387290
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781781380307.001.0001
- Subject:
- Literature, Criticism/Theory
Borrowed Forms examines the use of music by contemporary novelists and critics from across the francophone, anglophone, and hispanophone worlds. Through readings of Nancy Huston, Maryse Condé, J. M. ...
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Borrowed Forms examines the use of music by contemporary novelists and critics from across the francophone, anglophone, and hispanophone worlds. Through readings of Nancy Huston, Maryse Condé, J. M. Coetzee, Assia Djebar, Julio Cortázar, and other late twentieth-century novelists, the book shows how writers deploy musical strategies to expand the possibilities of the novel in response to the demands of transnational citizenship. The book transcends disciplinary boundaries to reveal the entanglement of musical and narrative forms in ethical, historical, and political questions. Critics from Mikhail Bakhtin to Edward Said established musical forms as an indispensable framework for understanding the novel. This study argues that the turn to music in late twentieth-century fiction is linked to new questions of authority and representation, as writers seek to democratize the novel, bring marginalized voices into fiction, articulate increasingly hybrid subjectivities, and negotiate the conflicting histories of the diverse groups that make up today's multicultural societies. The book traces the influence of four musical concepts on literary theory and the contemporary novel: polyphony, or the art of combining multiple, equal voices; counterpoint, the carefully regulated setting of one voice against another; variation, the virtuosic exploration of a given theme; and opera, the dramatic setting of a story to a musical score. Borrowed Forms is both a vital reference for those seeking to understand the influence of music on twentieth-century literary theory, and a rigorous and interdisciplinary framework for considering the transnational novel.Less
Borrowed Forms examines the use of music by contemporary novelists and critics from across the francophone, anglophone, and hispanophone worlds. Through readings of Nancy Huston, Maryse Condé, J. M. Coetzee, Assia Djebar, Julio Cortázar, and other late twentieth-century novelists, the book shows how writers deploy musical strategies to expand the possibilities of the novel in response to the demands of transnational citizenship. The book transcends disciplinary boundaries to reveal the entanglement of musical and narrative forms in ethical, historical, and political questions. Critics from Mikhail Bakhtin to Edward Said established musical forms as an indispensable framework for understanding the novel. This study argues that the turn to music in late twentieth-century fiction is linked to new questions of authority and representation, as writers seek to democratize the novel, bring marginalized voices into fiction, articulate increasingly hybrid subjectivities, and negotiate the conflicting histories of the diverse groups that make up today's multicultural societies. The book traces the influence of four musical concepts on literary theory and the contemporary novel: polyphony, or the art of combining multiple, equal voices; counterpoint, the carefully regulated setting of one voice against another; variation, the virtuosic exploration of a given theme; and opera, the dramatic setting of a story to a musical score. Borrowed Forms is both a vital reference for those seeking to understand the influence of music on twentieth-century literary theory, and a rigorous and interdisciplinary framework for considering the transnational novel.
Kate Clark and Amanda Markwick
- Published in print:
- 2020
- Published Online:
- July 2020
- ISBN:
- 9780190913335
- eISBN:
- 9780197546826
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190913335.003.0001
- Subject:
- Music, Performing Practice/Studies
This chapter traces the history and changing roles of the renaissance flute from its golden age in the first decades of the sixteenth century to its twilight years in the mid-seventeenth century. It ...
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This chapter traces the history and changing roles of the renaissance flute from its golden age in the first decades of the sixteenth century to its twilight years in the mid-seventeenth century. It explains the prominence of vocal polyphony in the practice of consort playing as well as the “emancipation” of instruments as obbligato players in mixed ensembles and the emergence of new, distinct instrumental genres such as the monodic fantasia and ricercar.Less
This chapter traces the history and changing roles of the renaissance flute from its golden age in the first decades of the sixteenth century to its twilight years in the mid-seventeenth century. It explains the prominence of vocal polyphony in the practice of consort playing as well as the “emancipation” of instruments as obbligato players in mixed ensembles and the emergence of new, distinct instrumental genres such as the monodic fantasia and ricercar.
Kathryn Lachman
- Published in print:
- 2014
- Published Online:
- January 2015
- ISBN:
- 9781781380307
- eISBN:
- 9781781387290
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781781380307.003.0002
- Subject:
- Literature, Criticism/Theory
Critics have classified African and Caribbean novels as “polyphonic” with little consideration of what precisely this entails. This chapter puts forth a more precise definition of polyphony by ...
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Critics have classified African and Caribbean novels as “polyphonic” with little consideration of what precisely this entails. This chapter puts forth a more precise definition of polyphony by reading Maryse Condé's canonical novel, Traversée de la mangrove [Crossing the Mangrove], against leading theorists of literary polyphony, Mikhail Bakhtin and Milan Kundera. Because it takes the form of a ritual wake and features multiple narrators, critics have widely hailed Condé's novel as an exemplary instance of polyphonic writing. On closer examination, however, the novel challenges a common misperception about literary polyphony, namely the idea that a written text can approximate oral culture and give voice to disenfranchised subjects. This reading attends to the distinct levels of narration at work in Condé's novel to show how the text creates a false impression of intimacy and community, while maintaining an aesthetic of opacity. The chapter assesses the aesthetic strategies and ethical priorities of Condé's writing against those of other major Caribbean writers: Césaire, Glissant, and Chamoiseau. It argues that the uncritical use of the term “polyphony” in relation to Condé's fiction (and that of other authors from the Global South) has obscured our understanding of ethics and representation, and muted the social critique present in many of these texts.Less
Critics have classified African and Caribbean novels as “polyphonic” with little consideration of what precisely this entails. This chapter puts forth a more precise definition of polyphony by reading Maryse Condé's canonical novel, Traversée de la mangrove [Crossing the Mangrove], against leading theorists of literary polyphony, Mikhail Bakhtin and Milan Kundera. Because it takes the form of a ritual wake and features multiple narrators, critics have widely hailed Condé's novel as an exemplary instance of polyphonic writing. On closer examination, however, the novel challenges a common misperception about literary polyphony, namely the idea that a written text can approximate oral culture and give voice to disenfranchised subjects. This reading attends to the distinct levels of narration at work in Condé's novel to show how the text creates a false impression of intimacy and community, while maintaining an aesthetic of opacity. The chapter assesses the aesthetic strategies and ethical priorities of Condé's writing against those of other major Caribbean writers: Césaire, Glissant, and Chamoiseau. It argues that the uncritical use of the term “polyphony” in relation to Condé's fiction (and that of other authors from the Global South) has obscured our understanding of ethics and representation, and muted the social critique present in many of these texts.
Stanley Boorman
- Published in print:
- 2005
- Published Online:
- September 2011
- ISBN:
- 9780195142075
- eISBN:
- 9780199850549
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195142075.003.0003
- Subject:
- Music, History, Western
Ottaviano Petrucci applied to the Venetian Signoria in 1498 for a privilege to protect his right to print music. The responsible members of the council approved the petition on 25th May of that year. ...
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Ottaviano Petrucci applied to the Venetian Signoria in 1498 for a privilege to protect his right to print music. The responsible members of the council approved the petition on 25th May of that year. In his application, Petrucci began by praising the city of Venice for the manner in which it supported new inventions, to the greater glory of the city, and encouraged people to explore new ideas. He then pointed out that his own invention had cost him much labor and time, and he attempted to imply that he had discovered what many others had sought long and unsuccessfully; the discovery provided a convenient way of printing polyphony.Less
Ottaviano Petrucci applied to the Venetian Signoria in 1498 for a privilege to protect his right to print music. The responsible members of the council approved the petition on 25th May of that year. In his application, Petrucci began by praising the city of Venice for the manner in which it supported new inventions, to the greater glory of the city, and encouraged people to explore new ideas. He then pointed out that his own invention had cost him much labor and time, and he attempted to imply that he had discovered what many others had sought long and unsuccessfully; the discovery provided a convenient way of printing polyphony.
