scholarly journals Disrupting Heteronormative Temporality through Queer Dramaturgies: Fun Home, Hadestown and A Strange Loop

Arts ◽  
2020 ◽  
Vol 9 (2) ◽  
pp. 69
Author(s):  
Sarah K. Whitfield
Keyword(s):  
Structural Change ◽  
Performance Practice ◽  
Close Reading ◽  
Present Moment ◽  
Musical Form ◽  
Historical Materialist ◽  
Strange Loop

This article considers how André De Shields performance in Hadestown (2019), and the musicals Fun Home (2015) and A Strange Loop (2019) can be seen to respond to the present moment and argues that they disrupt heteronormative temporality through queer dramaturgy. It explores musicals that present queer performativity and/or queer dramaturgies, and addresses how they enact queer strategies of resistance through historical materialist critiques of personal biographies. It suggests that to do this, they disrupt the heteronormative dramaturgical time of the musical, and considers how they may enact structural change to the form of the musical. The article carries out a close reading of De Shields’ performance practice, and analyses the dramaturgy of Fun Home and A Strange Loop through drawing on the methodologies of José Muñoz and Elizabeth Freeman. It considers how they make queer labour visible by drawing on post-dramatic strategies, ultimately suggesting that to varying extents, these musicals offer resistance to the heteronormative musical form.

scholarly journals What was sociology?

2019 ◽  
Vol 32 (1) ◽  
pp. 121-137
Author(s):  
Des Fitzgerald
Keyword(s):  
Biological Sciences ◽  
Recent Work ◽  
Close Reading ◽  
Present Moment ◽  
The Social ◽  
The Future ◽  
Urban Stress

This article is about the future of sociology, as transformations in the digital and biological sciences lay claim to the discipline’s jurisdictional hold over ‘the social’. Rather than analyse the specifics of these transformations, however, the focus of the article is on how a narrative of methodological crisis is sustained in sociology, and on how such a narrative conjures very particular disciplinary futures. Through a close reading of key texts, the article makes two claims: (1) that a surprisingly conventional urge towards disciplinary reproduction often animates accounts of sociology’s crisis; (2) that, even more surprisingly, these same accounts are often haunted by a hidden metaphorical architecture centred on biology, vitality, vigour and life. The central gambit of the article is that, perhaps in spite of itself, this subterranean image of life actually hints at less reproductively conventional ways of understanding – and intervening in – sociology’s methodological ‘crisis’. Drawing, empirically, on the author’s recent work on urban stress and, theoretically, on Stefan Helmreich’s (2011, 2016) account of ‘limit biologies’, the articles ends with a call for a ‘limit sociology’ – a form of attention that could, similarly, expand rather than contract the present moment of transformation. At the heart of the article is a hope that thinking with such a limit may help sociologists to imagine a less deadening future than that on offer from a canonised discipline cathected by endless crisis-talk.

Reading Michele Pesenti’s Tulerunt Dominum meum

2015 ◽  
Vol 32 (3) ◽  
pp. 367-409
Author(s):  
Jennifer Thomas
Keyword(s):  
Large Scale ◽  
Close Reading ◽  
Musical Structure ◽  
Musical Form ◽  
Precise Nature ◽  
Conceptual Variation

For his example of Phrygian mode in his 1547 Dodecachordon, Heinrich Glarean chose a motet first published in Petrucci’s 1503 Motetti B, Michele Pesenti’s Tulerunt Dominum. Glarean’s effusive response to Pesenti’s motet indicates that he had not only studied but had also heard the work; he marvels at the “great emotion and innate sweetness” that conveys so well its subject, which begins with Mary Magdalene’s lament at the empty tomb of Jesus and culminates in an expression of hope. Pesenti’s artistry lies in his ability to acknowledge, structurally and aesthetically, three distinct textual moods while creating an elegant musical structure based on motivic development, manipulation of mode and texture, rhythmic pacing, and the precise nature and placement of significant musical events. Pesenti’s large-scale planning is manifest in his versatile and carefully plotted use of a melodic paradigm that he transforms at strategic moments throughout the motet. It paints text, it carries a hidden message, and it creates musical highpoints. Finally, in a conceptual variation using all the main motives of the motet, its musical climax identifies the central message of the text. A close reading of Tulerunt Dominum reveals the artistry that caught Glarean’s ear: its composer was a thoughtful interpreter of text and a masterful handler of musical form, mode, and rhetoric—someone who could create a motet that would receive attention on its own merits.

scholarly journals Bach and Busoni Essentials in A Chaotic World

2021 ◽  
Vol 21 (1) ◽  
pp. 1-8
Author(s):  
Seow Phing Lee ◽  
C. H. Raymond Ooi ◽  
Ku Wing Cheong
Keyword(s):  
Structural Change ◽  
Performance Practice ◽  
Composition Pedagogy ◽  
New Music ◽  
Two Dimensional ◽  
Pitch Height ◽  
Future Studies ◽  
Piano Transcription ◽  
And Performance

The study analyses the manifestation of structural change from the Bach Violin Chaconne (BWV1004, c.1720) to the Bach-Busoni piano transcription (c.1897). This article explores the use of two-dimensional music abstraction for vertical (pitch height) and horizontal (time) and its signal insignificant identified bariolage sections in music. Bariolage excerpts are chosen for they are implied sounds captured in repeatability and recontextuality. The first part of the article offers an excerpt of the Bariolage from violin at bars (113-120) and its parallel piano transcription at bars (118-125). Significant expressions of registral change utilizing different voice parts (Soprano, Alto, Tenor) offer a wider expansion with piano. These excerpts were chosen after reviewing the original Bach Chaconne and its essentials in analytical aesthetics for the projection of beauty in symmetry-asymmetry-chaos in composition. This study captures the aesthetics of the beautiful from the original score of the violin Chaconne at (bars 89-96) and (bars 113-120) for Bach-Busoni piano transcription. Further, there are recommendations for future studies to explore vertical spaces and mathematical sequences embedded in the music in other sections. The findings of this study were implied through new music analytical formats to be applied in composition, pedagogy, and performance practice. 

Between “the lights and shadows”: Reading the new edition of Olive Schreiner’sFrom Man to Man or Perhaps Only —

2021 ◽  
Vol 56 (1) ◽  
pp. 3-12
Author(s):  
Sanja Nivesjö ◽  
Heidi Barends
Keyword(s):  
Political Thought ◽  
Writing Process ◽  
Close Reading ◽  
Present Moment ◽  
The Novel ◽  
Gender And Race

The introduction to this written symposium considers Olive Schreiner’s novel From Man to Man or Perhaps Only — (1926) in light of the release of a new edition by Dorothy Driver and UCT Press (2015). The symposium’s first article, by Liz Stanley, reflects on Schreiner’s writing process by studying two early manuscript fragments of the novel from 1886–1887. Joyce Berkman and Dorothy Driver then both perform a close reading of the novel. Berkman achieves an extended reading of the issue of possession, in relation to gender and race. Driver investigates Schreiner’s “poetics of plants” in relation to indigeneity and Schreiner’s social and political thought on race. Finally, an interview article provides multiple current academic voices on the relevance of reading From Man to Man today. Taken together, the symposium illustrates the complexity of Schreiner’s thinking in From Man to Man, the opportunities provided by the new edition for scholarship, and the value of reading this novel at the present moment.

Late-Stalinist ideological campaigns and the rupture of jazz: ‘jazz-talk’ in the Soviet Estonian cultural newspaperSirp ja Vasar

Popular Music ◽  
2014 ◽  
Vol 33 (3) ◽  
pp. 509-529
Author(s):  
Heli Reimann
Keyword(s):  
Public Discourse ◽  
The Other ◽  
Close Reading ◽  
Musical Form ◽  
Jazz Orchestra ◽  
The Public ◽  
Public Arena ◽  
The Masses ◽  
The Way

AbstractThis paper on Soviet Estonian jazz explores the dynamics of the processes which temporarily extinguished jazz from the public arena during late-Stalinism. This microhistory inflected study draws on the conception of ‘rupture’ through a close reading of the way jazz was constructed in the official narratives of the Estonian cultural newspaperSirp ja Vasar.Jazz in Estonia experienced no rupture during the first postwar years, but then the three successive Stalinist campaigns, each with gradually decreasing tolerance towards jazz, led finally to the temporary public disappearance of the music in 1950. The strategies enforced in the late 1940s, such as anti-jazz orchestra reform, dance reforms that banned the foxtrot and the other modern dances, and the eradication of the word jazz from public discourse, all served to silence the ‘formalistic’ musical form by framing it with negative connotations and by shaping the taste of the masses according to Soviet ideological paradigms.

Jindou: A Musical Form Found in Southern Song 
Lyric Songs

T oung Pao ◽  
2015 ◽  
Vol 101 (1-3) ◽  
pp. 98-129
Author(s):  
Yang Yuanzheng
Keyword(s):  
Early Modern ◽  
Performance Practice ◽  
Song Dynasty ◽  
Musical Analysis ◽  
Musical Form ◽  
Southern Song Dynasty ◽  
Southern Song ◽  
Song Lyric ◽  
Opening Line ◽  
Manuscript Copy

By introducing a newly-discovered manuscript copy of the lyric song anthology of the poet-musician Jiang Kui (1155–1221), this article aims to elucidate a hitherto unnoticed musical form of the genre: the jindou form. A comparison between the manuscript and all the early modern editions reveals discrepancies in the stanzaic divisions of four of Jiang’s seventeen songs for which he provided notation. Through musical analysis it is argued that the opening line of the second stanza in all the early modern editions may have been intentionally placed at the end of the first in the newly-discovered manuscript in order to remind the singer of the jindou form, in which the cadential notes of the first stanza immediately repeat at the beginning of the second. Therefore, these “unusual” stanzaic divisions are not mistakes, but indications of conventional performance practice in the Southern Song dynasty as dictated by musical factors.
S’appuyant sur une copie manuscrite récemment découverte de l’anthologie de poèmes chantés du poète et musicien Jiang Kui (1155–1221), cet article s’attache à élucider une forme musicale propre à ce genre et à laquelle on n’a jamais prêté attention : la forme jindou. La comparaison entre ce manuscrit et l’ensemble des éditions de la fin de la période impériale révèle des différences dans la division strophique de quatre poèmes de Jiang sur les dix-sept pour lesquels la notation musicale est fournie. L’analyse musicale permet d’établir que le premier vers de la seconde strophe dans toutes les éditions de la fin de l’empire a été délibérément placé à la fin de la première strophe dans le nouveau manuscrit, ce afin de rappeler au chanteur la forme jindou, dans laquelle les notes cadentielles de la première strophe sont immédiatement répétées au début de la seconde. Cette division inhabituelle entre strophes n’est donc pas le résultat d’une erreur: elle signale ce qui était le mode d’exécution conventionnel, basé sur des facteurs purement musicaux, à l’époque des Song du Sud.


Electron Microscopy of Shock Loaded Polycrystalline Beryllium

1974 ◽  
Vol 32 ◽  
pp. 506-507 ◽  
Author(s):  
J. M. Galbraith ◽  
L. E. Murr ◽  
A. L. Stevens
Keyword(s):  
Electron Microscopy ◽  
Wave Propagation ◽  
Structural Change ◽  
Single Crystal ◽  
Diffraction Pattern ◽  
Shock Loading ◽  
Slip Systems ◽  
Compression Tests ◽  
X Ray Diffraction ◽  
X Ray

Uniaxial compression tests and hydrostatic tests at pressures up to 27 kbars have been performed to determine operating slip systems in single crystal and polycrystal1ine beryllium. A recent study has been made of wave propagation in single crystal beryllium by shock loading to selectively activate various slip systems, and this has been followed by a study of wave propagation and spallation in textured, polycrystal1ine beryllium. An alteration in the X-ray diffraction pattern has been noted after shock loading, but this alteration has not yet been correlated with any structural change occurring during shock loading of polycrystal1ine beryllium.This study is being conducted in an effort to characterize the effects of shock loading on textured, polycrystal1ine beryllium. Samples were fabricated from a billet of Kawecki-Berylco hot pressed HP-10 beryllium.

Women and Structural Change: New Perspectives

1998 ◽  
Vol 52 (1) ◽  
pp. 122-122
Author(s):  
Alaka M. Basu
Keyword(s):  
Structural Change

In the present moment: Mindfulness as a way of life

2012 ◽  
Author(s):  
Kathryn L. Norsworthy ◽  
Kelly Caniglia ◽  
Sharri Harmel ◽  
Alexandra Lajeunesse ◽  
April Obermeyer ◽  
...  
Keyword(s):  
Present Moment ◽  
Way Of Life
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