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.
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.
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.
This project studies numinous phenomenon in performance to discover new ways to language and understand numinous encounters as ineffable and embodied lived experiences. Felt as “real” or concrete ...they significantly contribute insight toward potentializing personal and cultural transformation. Intangible, numinous experiences exist on a horizon of mystery in the “in-between-ness” between the known and the unknown. They hold crucial insight into a kind of magnetic knowing that reveals how embodiment influences all our experience. To bring voice to such in-between-ness, this depth psychological qualitative study integrates somatic studies with performance philosophy, performance studies, and embodiment research as it builds on Vagle’s (2018) post-intentional phenomenological methodology. This innovative and open-ended approach claims that reiterative processes and embodied approaches to meaning making are best found through multiple creative lenses. Artistic research, specifically Practice as Research, or PaR, examines the relationship between theory and method from the perspective of studio-based research practices. PaR currently challenges traditional approaches to scholarship and is highlighted as six diverse artist/scholars share insight into their experiences and weave a complex, multi-layered tapestry, confirming that embodied contact with data elicits a type of knowledge in excess of itself. As it problematizes written and spoken language’s capacity to capture and translate the numinous, this study exposes multiple and complex tensions held in the in-between-ness where space and time are altered as the numinous reveals itself through the language of body and psyche.
My time at University of California San Diego (UCSD) has been a moment of intense learning and development of artistry. I hoped to come to UCSD for the purpose of gaining new techniques, skills, and ...credits, all of which I have received. However, the real learning has been deeply personal and deeply spiritual. Through the classes, productions, and collaborations at UCSD I have learned the multiplicity of powers which are moving through our lives at any given moment, that in addition to the rules of physics, there are always forces of history, politics, metaphysics, philosophy, and spirituality at work in every moment. But I am only occasionally attending to those forces. Through my teachers both formal and informal at UCSD I have learned how those forces ripple through every moment and how the theatre can be a space to create a new concrete world that makes those forces manifest and perceivable in the theatrical form. This paper is an examination of the processes, experiences, and relationships which have taught me what I define directing to be and how I myself can be one—that is, by creating a concept, using the tools of the theatrical form to express my vision of the way the world works through the images, rhythms, and situations of a specific production. This expression of the way the world truly works is what I call revealing the divine and this paper is a reflectios on God, the divine, and using theatre to make God manifest in the theatrical concrete, and therefore our lives.
...in Cohen's worldview, such issues were beyond resolution.According to Luria, ten vessels originally contained the emanation of God's light. "Because I didn't feel I was at home anywhere.The ...candles burned The moon went down The polished hill The milky town Transparent, weightless, luminous Uncovering the two of us On that fundamental ground Where love's unwilled, unleashed, unbound And half the perfect world is found The task before him was to use personal experience to explore the central predicaments of humankind, if not resolve them....in Cohen's worldview, such issues were beyond resolution.
A Difficult Balance Bauer, Carlene
The Virginia quarterly review,
04/2014, Letnik:
90, Številka:
2
Journal Article
Bauer shares that as a Catholic convert she had yet to relinquish herself to atheism, and she remained doubtful on God's existence. She says religious doubt is still seen as a kind of sin--the sin of ...not taking a side that has infected the political discourse and all other discourse as well. She further states that doubt can render a person unstable, and can bury him in despair. But it can also be a state of waiting in which a person can stand curious, expectant. Doubt can be seen as an active hope, which is what love is.
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