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  1. Gothic music
    the sounds of the uncanny
    Published: 2012
    Publisher:  University of Wales Press, Cardiff

    Gothic Music: The Sounds of the Uncanny traces sonic Gothic through history and genres from the eighteenth-century ghost story through the spooky soundtracks of cinema, television and video games to the dark music of the Goth subculture more

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    Gothic Music: The Sounds of the Uncanny traces sonic Gothic through history and genres from the eighteenth-century ghost story through the spooky soundtracks of cinema, television and video games to the dark music of the Goth subculture

     

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    Source: Union catalogues
    Language: English
    Media type: Ebook
    Format: Online
    ISBN: 9780708325186; 0708325181
    Other identifier:
    9780708325131
    Series: Gothic Literary Studies
    Subjects: Gothic rock music; Darkwave (Music); Video game music; Motion pictures and music; Television and music; Music and literature; Horror in music; Literature; BIOGRAPHY & AUTOBIOGRAPHY ; Literary; MUSIC ; History & Criticism; Darkwave (Music); Gothic rock music; Horror in music; Motion pictures and music; Music and literature; Television and music; Video game music
    Scope: Online Ressource (229 p.)
    Notes:

    Description based upon print version of record. - Includes bibliographical references and index

  2. Musikalische Praxis als Lebensform
    Sinnfindung und Wirklichkeitserfahrung beim Musizieren
    Published: 2018
    Publisher:  Transcript-Verlag, Bielefeld

    The practice of making music as an act of liberation from perfection and productivity - and as the experience of meaningfulness in a specific situation, a specific location, in relationships Wie wirklich ist musikalische Praxis und was hat sie mit... more

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    The practice of making music as an act of liberation from perfection and productivity - and as the experience of meaningfulness in a specific situation, a specific location, in relationships Wie wirklich ist musikalische Praxis und was hat sie mit dem alltäglichen Leben zu tun? Eva-Maria Houben zeigt, dass sich das Musizieren verändert, sobald dessen Sinn nicht in der zweckorientierten Produktion von Arbeitsergebnissen, sondern im Musizieren als Beschäftigung und um des Spielens willen gefunden wird. Musikalische Praxis ist prinzipiell unabgeschlossen. So bleibt das Tun auf Wiederholung ausgerichtet und befreit von Perfektion, Produktivität, Zweckgebundenheit. Sinn wird in der jeweiligen Situation, am spezifischen Ort, im Beziehungsgeschehen selbst erlebt. Musikalische Praxis kann so zur "Lebensform" und dabei eine eigene Wirklichkeit werden

     

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    Source: Staatsbibliothek zu Berlin
    Language: German
    Media type: Ebook
    Format: Online
    ISBN: 9783839441992; 3839441994
    Other identifier:
    9783837641998
    RVK Categories: EC 2440
    Series: Musik und Klangkultur ; 27
    Subjects: Composition (Music); Music; Music; Musical perception; Composition (Music); Music; Music; Musical perception; MUSIC ; History & Criticism; Composition (Music); Music; Music ; Performance; Musical perception; Criticism, interpretation, etc; History
    Scope: 1 Online-Ressource
    Notes:

    Frontmatter -- Inhalt -- Vorwort -- Erster Teil -- 1. Zugänge -- 2. Musikalische Praxis -- 3. Sprachfindungen -- Zweiter Teil -- 1. Tasten -- 2. Viele -- 3. Solo -- 4. Duo -- 5. Trio -- 6. Quartett -- 7. Über Grenzen hinaus -- 8. In der "Arche des Augenblicks" -- Werkeverzeichnis -- Literatur.

  3. Keys to play
    music as a ludic medium from Apollo to Nintendo
    Published: [2016]; ©2016
    Publisher:  University of California Press, Oakland, California

    "How do keyboards make music playable? Drawing on theories of media, systems, and cultural techniques, Keys to play spans Greek myth and contemporary Japanese digital games to chart an archaeology of musical play and its animation via improvisation,... more

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    "How do keyboards make music playable? Drawing on theories of media, systems, and cultural techniques, Keys to play spans Greek myth and contemporary Japanese digital games to chart an archaeology of musical play and its animation via improvisation, performance, and recreation. As a paradigmatic digital interface, the keyboard forms a field of play on which the book's diverse objects of inquiry--from clavichords to PCs and eighteenth-century musical dice games to the latest rhythm-action titles--enter into analogical relations. Remapping the keyboard's topography by way of Mozart and Super Mario, who head an expansive cast of historical and virtual actors, Keys to play invites readers to unlock ludic dimensions of music that are at once old and new."--Provided by publisher. Prelude: press any key to start -- Pt I. Fields and interfaces of musical play -- Key 1 Ludomusicality -- Key 2 Digital analogies -- Pt II. Play by play : improvisation, performance, recreation -- Key 3 The emergence of musical play -- Key 4 High scores: WAM vs. LVB -- Key 5 Play again?

     

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  4. The elocutionists
    women, music, and the spoken word
    Published: 2017
    Publisher:  University of Illinois Press, Urbana

    "Emerging in the 1850s, elocutionists recited poetry or drama with music to create a new type of performance. The genre--dominated by women--achieved remarkable popularity. Yet the elocutionists and their art fell into total obscurity during the... more

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    "Emerging in the 1850s, elocutionists recited poetry or drama with music to create a new type of performance. The genre--dominated by women--achieved remarkable popularity. Yet the elocutionists and their art fell into total obscurity during the twentieth century. Marian Wilson Kimber restores elocution with music to its rightful place in performance history. Gazing through the lenses of gender and genre, Wilson Kimber argues that these female artists transgressed the previous boundaries between private and public domains. Their performances advocated for female agency while also contributing to a new social construction of gender. Elocutionists, proud purveyors of wholesome entertainment, pointedly contrasted their "acceptable" feminine attributes against those of morally suspect actresses. As Wilson Kimber shows, their influence far outlived their heyday. Women, the primary composers of melodramatic compositions, did nothing less than create a tradition that helped shape the history of American music"-- 7. Womanly Women and Moral Uplift: Female Readers and Concert Companies on the Chautauqua Circuit8. Multiplying Voices: American Women and the Music of Choral Speaking; 9. Words and Music Ladies: The Careers of Phyllis Fergus and Frieda Peycke; 10. Women's Work, Women's Humor: Musical Recitations by Female Composers; Afterword: Echoes of Elocutionary Arts; Appendix; Notes; Index Cover; Title; Copyright; Contents; Preface: Hearing Lost Voices; Acknowledgments; 1. The Odyssey of a Nice Girl: Elocution and Women's Cultural Aspirations; 2. Making Elocution Musical: Accompanied Recitation and the Musical Voice; 3. Reading the Fairies: Shakespeare in Concert with Mendelssohn's A Midsummer Night's Dream; 4. Sentimentality and Gender in Musically Accompanied Recitations; 5. Grecian Urns in Iowa Towns: Delsarte and The Music Man; 6. In Another Voice: Women and Dialect Recitations

     

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  5. Songs of the women trouvères
    Published: c2001
    Publisher:  Yale University Press, New Haven

    14. La froidor ne la jalee15.: Mout m�abelist quant je voi revenir�Maroie de Diergnau -- 16.: Onqes n�amai tant que jou fui amee -- 17.: Plaine d�ire et de desconfort -- Plainte -- 18. Par maintes fois avrai esteit requise�Duchesse de... more

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    14. La froidor ne la jalee15.: Mout m�abelist quant je voi revenir�Maroie de Diergnau -- 16.: Onqes n�amai tant que jou fui amee -- 17.: Plaine d�ire et de desconfort -- Plainte -- 18. Par maintes fois avrai esteit requise�Duchesse de Lorraine -- Chansons d�ami -- 19. Deduxans suis et joliette, s�amerai -- 20. Dues, Dues, Dues, D -- 21. E, bone amourette -- 22.: Lasse, pour quoi refusai -- 23.: L�on dit q�amors est dolce chose -- 24. Osteis ma kenoille! Je ne pux fileir -- 25. Qui de .ii. biens le millour 26. Trop me repent, mais tairt mi suis parsueChansons de croisade -- 27.: Chanterai por mon corage -- 28. Jherusalem, grant damage me fais -- Aubes -- 29. Cant voi l�aube dou jor venir -- 30. Entre moi et mon amin -- Chansons de malmariée -- 31. Au cuer les ai, les jolis malz -- 32. Mesdixant, c�an tient a vos -- 33. Por coi me bait mes maris? -- 34.: Un petit davant lou jor�Duchesse de Lorraine -- Chansons pieuses -- 35.: Amis, amis -- 36.: Amours, u trop tart me sui pris�Blanche de Castille -- 37. An paradis bel ami ai 38. Je plains et plors come feme dolente39.: Li debonnaires Dieus m�a mis en sa pr -- 40.: Li solaus qui en moy luist est mes deduis -- A CIRCLE OF VOICES: RONDEAUX -- 41. Ainssi doit on aler -- 42. Amours sont perdues -- 43. E, mesdixans, Dieus vos puixe honir -- 44. Hé, Diex, quant vandra -- 45. Hé, que me demande li miens amis? -- 46. J�ai ameit et amerai -- 47. Jai ne lairai por mon mari ne die -- 48. Je ne [li] deffendrai mie -- 49. Or n�i serai plus amiete -- 50.: Soufrés, maris, et si ne vous anuit -- 51. Toute seule passerai le vert boscage 6. Douce dame, respondez�Dame & Rolant de Reims7. Douce dame, volantiers�Dame & Rolant de Reims -- 8. Douce dame, vos aveis prins marit�Dame & Rolant de Reims -- 9.: Douce dame, ce soit en vos nomer�Dame & Perrot de Beaumarchais -- 10.: Amis, ki est li muelz vaillans�Dame & Ami -- 11.: Dites, dame, li keilz s�aquitait muelz�Dame & Sire -- 12.: Dame, merci, une riens vous demant�Blanche de Castille & Thibaut de Champagne -- 13.: Dites, seignor, que devroit on jugier�Dame & Seignor -- VOICES IN MONOLOGUE: CHANSONS -- Chansons d'amour Aleksandr Nikitenko, descended from once-free Cossacks, was born into serfdom in provincial Russia in 1804. One of 300,000 serfs owned by Count Sheremetev, Nikitenko as a teenager became fiercely determined to gain his freedom. In this memorable and moving book, here translated into English for the first time, Nikitenko recollects the details of his childhood and youth in servitude as well as the six-year struggle that at last delivered him into freedom in 1824. Among the very few autobiographies ever written by an ex-serf, Up from Serfdom provides a unique portrait of serfdom in nineteenth-century Russia and a profoundly clear sense of what such bondage meant to the people, the culture, and the nation. Rising to eminence as a professor at St Petersburg University, former serf Nikitenko set about writing his autobiography in 1851, relying on his own diaries (begun at the age of fourteen and maintained throughout his life), his father's correspondence and documents, and the stories that his parents and grandparents told as he was growing up. He recalls his town, his schooling, his masters and mistresses, and the utter capriciousness of a serf's existence, illustrated most vividly by his father's lurching path from comfort to destitution to prison to rehabilitation. Nikitenko's description of the tragedy, despair, unpredictability, and astounding luck of his youth is a compelling human story that brings to life as never before the experiences of the serf in Russia in the early 1800s Contents -- LIST OF ILLUSTRATIONS -- ACKNOWLEDGMENTS -- LIST OF ABBREVIATIONS -- LIST OF MANUSCRIPTS CONSULTED -- INTRODUCTION: THE CASE FOR THE WOMEN TROUVERES -- VOICES IN DIALOGUE: JEUX-PARTIS AND TENSIONS -- 1.: Je vous pri, dame Maroie�Dame Margot & Dame Maroie -- 2. Lorete, suer, par amor�Lorete & Suer -- 3. Que ferai je, dame de la Chaucie�Sainte des Prez & Dame de la Chaucie -- 4. Dame de Gosnai, gardez�Dame de Gosnai & Gillebert de Berneville -- 5. Concilliés moi, Rolan, je vous an pri�Dame & Rolant de Reims

     

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  6. The poetics of American song lyrics
    Published: ©2012
    Publisher:  University Press of Mississippi, Jackson

    The day Johnny Cash died / Lamar Alexander -- Reduced to rhyme: on contemporary doggerel / David Caplan -- The sonnet within the song: country lyrics and the Shakespearean sonnet structure / Charlotte Pence -- Rap poetry 101 / Adam Bradley -- It... more

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    The day Johnny Cash died / Lamar Alexander -- Reduced to rhyme: on contemporary doggerel / David Caplan -- The sonnet within the song: country lyrics and the Shakespearean sonnet structure / Charlotte Pence -- Rap poetry 101 / Adam Bradley -- It don't mean a thing: the blues mask of modernism / Kevin Young -- Gangsta rap's heroic substrata: a survey of the evidence / John Paul Hampstead -- At the crossroads: the intersection of poetry and the blues / Keith Flynn -- Country music lyrics: is there poetry in those twangy rhymes? / Jill Jones -- Similarities and differences between song lyrics and poetry / Pat Pattison -- Words and music: three stories / Wyn Cooper -- The triumph of Icarus: Sam Cooke and the creative spirit / Peter Guralnick -- The Jo Blow version / David Kirby -- A Nobel for Dylan? / Gordon Ball -- Lyric impression, muscle memory, Emily, and the Jack of Hearts / Claudia Emerson -- Don Khan and truck-driving wives: Dylan's fluctuating lyrics / Ben Yagoda -- Thoughts on "Me and Bobby McGee" and the oral and literary traditions / David Daniel -- The soup that could change the world / Beth Ann Fennelly -- Laughing in tune: R.E.M. and the post-confessional lyric / Jeffrey Roessner -- Sweetness follows: Michael Stipe, John Keats and the consolations of time / Eric Reimer -- Sweeping up the jokers: Leonard Cohen's "The stranger song" / Brian Howe -- Facing the music: the poetics of Bruce Springsteen / Robert P. McParland -- Coming into your town: Okkervil River's "Black" / Stephen M. Deusner -- Still holding at the seams: Magnolia Electric Co.'s Josephine and the contemporary poetic sequence / Jesse Graves -- Not to oppose evil: Johnny Cash's bad luck wind / Tony Tost. The Poetics of American Song Lyrics is the first collection of academic essays that regards songs as literature and that identifies intersections between the literary histories of poems and songs. The essays by well-known poets and scholars including Pulitzer Prize winner Claudia Emerson, Peter Guralnick, Adam Bradley, David Kirby, Kevin Young, and many others, locate points of synthesis and separation so as to better understand both genres and their crafts. The essayists share a desire to write on lyrics in a way that moves beyond sociological, historical, and autobiographical approaches and

     

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    Source: Union catalogues
    Language: English
    Media type: Ebook
    Format: Online
    ISBN: 1617031577; 9781617031571
    Series: American made music series
    Subjects: Songs; Poetics; Poetry; Lyric poetry; MUSIC ; Printed Music ; General; MUSIC ; History & Criticism; Lyric poetry; Poetics; Poetry ; Authorship; Songs; Poetik; Song; Songwriter; Text; Musikwissenschaft; Criticism, interpretation, etc; History; Texts
    Scope: 1 Online-Ressource (xix, 288 pages)
    Notes:

    Includes bibliographical references and index

  7. Keys to play
    music as a ludic medium from Apollo to Nintendo
    Published: [2016]; ©2016
    Publisher:  University of California Press, Oakland, California

    "How do keyboards make music playable? Drawing on theories of media, systems, and cultural techniques, Keys to play spans Greek myth and contemporary Japanese digital games to chart an archaeology of musical play and its animation via improvisation,... more

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    "How do keyboards make music playable? Drawing on theories of media, systems, and cultural techniques, Keys to play spans Greek myth and contemporary Japanese digital games to chart an archaeology of musical play and its animation via improvisation, performance, and recreation. As a paradigmatic digital interface, the keyboard forms a field of play on which the book's diverse objects of inquiry--from clavichords to PCs and eighteenth-century musical dice games to the latest rhythm-action titles--enter into analogical relations. Remapping the keyboard's topography by way of Mozart and Super Mario, who head an expansive cast of historical and virtual actors, Keys to play invites readers to unlock ludic dimensions of music that are at once old and new."--Provided by publisher. Prelude: press any key to start -- Pt I. Fields and interfaces of musical play -- Key 1 Ludomusicality -- Key 2 Digital analogies -- Pt II. Play by play : improvisation, performance, recreation -- Key 3 The emergence of musical play -- Key 4 High scores: WAM vs. LVB -- Key 5 Play again?

     

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