What parameters of the voice—timbre, pitch, rhythm, lyrical content—should one analyze? ...how can an analyst successfully account for each voice’s individuality, while relying on a theoretical ...framework that is general enough to enable comparisons and abstractions? 2 In order to address these questions, A Blaze of Light in Every Word proposes a conceptual model for analyzing the popular singing voice. 4 While Malawey’s object of study is the sonic materiality of the voice—the tangible, physiological, and acoustic aspects of a sung vocal performance—the book opens with an overview of philosophically oriented branches of voice studies. The chapter on “quality” examines timbre insofar as it imparts “the feelings, emotions, and meanings that listeners ascribe to the recordings and performances they consume” (94). Since Malawey studies recorded performances, her analyses also consider the ways in which voices are technologically processed before reaching a listener. McKinnon’s untrained voice, perceived as amateurish because of its imprecise intonation, allows her performance to be perceived as an unfiltered and authentic display of emotion that contrasts with her usual comic appearances on the television show.
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At the End: Bowie, Reed, and Cohen Nadel, Ira
Journal of popular culture,
April 2021, 2021-04-00, 20210401, Letnik:
54, Številka:
2
Journal Article
Recenzirano
The lives of Leonard Cohen, David Bowie, and Lou Reed intersected and overlapped musically and personally. For example, Reed, the New York-born Jewish rocker, inducted Cohen into the Rock and Roll ...Hall of Fame in 2006, Bowie produced Reed's singular hit, "Walk on Wild Side," but there are even stronger elements of overlap in the late-career artistic practices that produced their last recordings. Although musical differences remain, there are also powerful similarities, notably a late determination to create new sounds while advancing their musical visions. Arul while all three created distinct on-stage personalities—Bowie offering capricious identities, Cohen embodying serious-ness of his voice with his suits and fedoras, and Reed projecting the image of an urban rocker with a Iouche manner and glare—they united in their refusal to accept any artistic torpor brought about by a shortened or aging creative life.
When I'm Your Fan: The Songs of Leonard Cohen hit stores in 1991, Leonard Cohen's career had plummeted from its revered 1960s high. Cohen's record label had refused to release his 1984 album Various ...Positions--including the song "Hallelujah"--in the United States. Luckily, Velvet Underground founder John Cale was one of the few who did hear "Hallelujah," and he covered it for I'm Your Fan, a collection of Cohen’s songs produced by a French fanzine. Jeff Buckley adored the tribute album and covered Cale's cover in 1994, never having heard Cohen's still-obscure original version. In 2016, Stereogum labeled the tribute album "possibly the most universally derided format in pop music." However, without a tribute album, you wouldn't know the song "Hallelujah." Through Buckley through Cale, "Hallelujah" is now one of the most often-performed songs in the world--and it wouldn't be without this tribute album. I'm Your Fan thus offers a particularly notable example of a much broader truth: Despite all the eye-rolling they inspire, tribute albums matter. They can resuscitate legends' fading careers, or expose obscure artists who never had much of a career to begin with.
Yuri Kochiyama (1921–2014) On March 11, 2020, roughly three months after the first death attributed to the newly discovered SARS-CoV-2 (COVID-19) virus was confirmed in Wuhan, China, the World Health ...Organization elevated its characterization of the ensuing outbreaks from "public health emergency of international concern" (PHEIC) to global pandemic. ...we editors, along with the contributors to this special issue, acknowledge from the outset that the formation of Asian American studies—along with ethnic studies and gender/sexuality studies—was first and foremost a paradigmatic endeavor, one that, as Lisa Lowe productively characterizes it, remains "key to thinking in comparative relational ways about race, power, and interconnected colonialisms. More than a few students found themselves spending more time in the community than in school. ...were born a host of Asian American community organizations and services, as well as an increasing vector of Asian American political activism in defense of our communities. "4 Such reckonings, intimately tied to the formation of Asian American studies as a critical race-based interdiscipline born out of 1960s civil rights movements and liberation fronts, encapsulate the field's aspirational politics.
In this paper I discuss how I went beyond commonplace, rational ways of theater-making and relied on certain “extreme”, irrational gestures to create my production of Charles Mee’s Orestes 2.0. I ...discuss the circumstances that led me to unlock my subjective artistry, the manner in which I tackled and fulfilled my “directorial concept”, and how I created a production that challenged the tyranny of rationality both on the stage and within the culture of the theater department. I relate personal experiences entering school during a time of national suspicion, and I discuss how a more expansive artistic outlook developed in response to my environment. I go through the execution of my directorial concept and show how I “projected a world” from my interior into the theatrical concrete, drawing on the work of master Polish director Tadeusz Kantor. I describe the “rules” of my theatrical world in terms of its diegetic reality, its method of construction, and its aims. I then describe the rehearsal process, highlighting the ways that irrational methods and a focus on body and imagination drove the process. I discuss my creative state of mind, my performance as the character Farley, and the way in which I hoped authority and sense-making functioned in the audience experience of the performance. Throughout, I accompany my ideas with supporting quotations from Mee’s play and the writing of French theorist, poet, and director Antonin Artaud, situating my use of the power of the irrational inside the theatrical tradition and the play-text.
Erens talks about Leonard Cohen's legacy. The Flame, which Cohen finished only days before his death in Nov 2016, is a collection of poems (most new, some old but never previously published), lyrics, ...drawings, and working notebooks. Cohen's celebrity exploded in the last decade of his life; fans may come to this book unaware that it is merely the last in a long line of novels and poetry collections that Cohen published, that in fact he launched his reputation in print and not in song. He could have had a very fine career as a novelist, but he got sick of not making any money. In 1966, after a decade of publishing, he turned to songwriting. Cohen never published another novel after 1966, the year before his first album was released, but in 1993 he published Stranger Music. It was subtitled "Selected Poems and Songs," yet included passages from Beautiful Losers as well as excerpts from 1984's Book of Mercy that are neither distinctly poetry nor prose. In 2006 came Book of Longing, which featured not just poetry and prose-like selections but drawings and odd little images that have the flavor of computer clip art. The Flame is very similar to Book of Longing in composition, with the priceless addition of the drafting notebooks.
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Having emerged as a Portuguese colony in the sixteenth century, Brazil delineated its existence throughout the seventeenth century and beyond upon the coexistence of contradictions and contrasts such ...as the amalgam of the sacred and the profane in colonial life, due to the very miscegenation between European, Indigenous, and African people. Published in 1956, Let Us Compare Mythologies gained attention from critics for featuring the comparison of various mythologies- Jewish, Christian, Hellenic, and so on-as the major thematic unifying force of the collection and as a much needed Canadian touch of exoticism, though it was clear that it was Cohen's Jewish background that was central to his vision, as Linda Hutcheon points out (6). After years in the monastery, which he left in 1999, Cohen presented to the world an artistic production that expressed the sensitivity of a mature man who would transform the awareness of his aging process in both the matter and the style of his poetry, music, and stage performances, in which the coexistence of the sacred and the profane would be more observable. In this sense, it should be noted, with Italian philosopher Adriana Cavarero, that the voice is a singular, unique instance that inscribes in itself the marks of the body and its finitude and "stands in contrast to the various ontologies of fictitious entities that the philosophical tradition, over the course of its historical development, designates with names like 'man,' 'subject,' 'individual'" (173).
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