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Kurdish music has many important transformations, including the liberation of Kurdish singing from the tarab sensuality on the one hand, the modernization of oriental music with Western classical musical instruments on the other hand, and then the enrichment of melodic and vocal writing with advanced musical sciences represented by the use of counterpoint, which led to the development of oriental music composition methods in terms of aesthetics and expression, which sought these methods, which began from the eighties (1980s) of the twentieth century to our current reality in the development of counterpoint techniques in polyphony Texture. Hence, the researchers believe that there are many experiences of Kurdish musicians in employing folkloric and folk heritage songs by treating their melodies in a contemporary musical way, i.e. by introducing polyphony (counterpoint and harmony) and diversifying in the instrumental distribution. The research aims to show the role and use of counterpoint in Kurdish orchestral compositions. It is an important part of the development and diversification of contemporary Kurdish music, in general and shows how Dilshad Mohamed Said's counterpoint is used in his Kurdish orchestral compositions. The use of counterpoint in Kurdish orchestral compositions is an endeavor to achieve serious scientific and systematic steps in the field of artistic expression and vocal diversity, which enhances Kurdish musical culture to reach the global level. [ABSTRACT FROM AUTHOR]

This article deconstructs the intersections of form, counterpoint, and narrative that contribute to parody in the third movement Rondo-Burleske of Gustav Mahler's Ninth Symphony. Motivic counterpoint problematizes the movement's main rondo theme, placing initial cracks in the movement's rondo façade. Through thematic and formal counterpoint, the rondo genre itself destabilizes as signifiers of sonata-form rhetoric intrude. To interpret how counterpoint and generic mixture contribute to the burlesque character of the movement, I consider theoretical accounts of parody and the burlesque, and I adapt, as a generative metaphor, Mikhail Bakhtin's notion of the carnivalesque. In the context of the Ninth Symphony's transsymphonic narrative, the Rondo-Burleske performs a carnival parody of the symphonic finale genre, functioning as a brazen, iconoclastic, but in the end, failed counterpart to the first movement. [ABSTRACT FROM AUTHOR]

Numerous pages have already been filled out about Astor Piazzolla's operita Maria de Buenos Aires. What I aim to bring anew through this work is the delineation of the musical dramaturgy within this work, with an emphasis on the orchestral ensemble, instrumental architecture, general developmental principles, organization of musical material, created effects, and how they assist in constructing each section. Additionally, I aspire to bring this Piazzollian masterpiece closer to the public. Despite premiering in May 1968, it remains relatively unknown and rarely staged. Librettist Horacio Ferrer employs a "coded," enigmatic language that is challenging to understand even for Spanish speakers. But the musicality and rhythm provided by his text contribute masterfully to the construction of the work's dramaturgy, with the operita's libretto perfectly fitting Piazzolla's language. Maria de Buenos Aires is an important lesson in composition and orchestration, as well as a model of musical dramaturgy construction. It is also a truly source of inspiration for instrumentalists, singers, composers, orchestrators, or musicologists, as well as for actors, directors, choreographers, and poets. [ABSTRACT FROM AUTHOR]

This article applies Sergei Taneev's theory of double-shifting counterpoint to the problem of composing two voices in canonic imitation against a pre-composed cantus firmus. This approach sheds light on previous historical approaches to the same problem, in particular the improvised canons that were the subject of studies during the sixteenth and seventeenth centuries, and it may be used for the analysis of such canons as they occasionally occur in written repertoire, such as in the canonic chorale preludes and ground-bass compositions of J. S. Bach. When presented as a contrapuntal exercise, this method can be used to compose all manner of canons against a cantus firmus, including advanced canons written in contrary motion, augmentation and diminution, retrograde motion, and inverted retrograde motion. [ABSTRACT FROM AUTHOR]

The article focuses on Karen Desmond's project "Measuring Polyphony," which digitizes and encodes late medieval polyphonic music. Topics include the preservation and accessibility of fragile manuscripts, the use of advanced digital tools like Music Encoding Initiative (MEI) for representing mensural notation, and the potential educational applications of these resources for scholars, students, and performers.

Symbolism distinguished itself in world culture in that its representatives were inclined to a dialogue and intersection of different types of art. In Russian literature, one of the brightest examples of such a synthesis is the work of Andrei Bely (Boris Bugaev; 1880–1934). The aim of the present article is to consider the writer's ideas about music itself. As the main source we use Bely's treatise The History of the Formation of the Self-Conscious Soul. Bely in his Symbolist articles of the 1900s laid down the idea of musical art as an antinomy, which emphasized the troubling importance of the problem, but did not principally imply any positive answer. However, in his anthroposophic treatise The History of the Formation of the Self-Conscious Soul (1926–1931), enormous in volume and scale of the material, the author's antinomical understanding of music was transformed into a structure which is extremely complicated, but consistent. That is why Andrei Bely does not apply the word "antinomy" to music, but he extensively uses the musical term "counterpoint" (together with other musical terms). Whereas the word "antinomy" pointed at some irreconcilable conflicts, on the contrary, a "counterpoint" introduces these clashes into the frame of a single structure of a system, thus reconciling them. Accordingly, the romance "It is so sweet to be with you" by Mikhail Glinka (called in The History "the greatest genius") contains, in Andrei Bely's texts, the message of a wide spectrum. [ABSTRACT FROM AUTHOR]

This article analyzes the styles of work and conflict of a group of electrical contractors who congregate across the street from a power utility office in Dar es Salaam, Tanzania. Drawing on a rich tradition of urban Africanist ethnography, as well as the work of Roy Wagner and Lars Spuybroek, it argues that their long-running streetcorner bureau is a "turn" that brings together the logics of entrepreneurial accumulation and bureaucratic legitimacy into generative counterpoint. Performed well, the effect of this turn is a kind of grace, characterized by increase and bounty, but also social recognition and dignity. Performed poorly, it is received as a parody of the logics it aims to transfigure. The "taking of turns," in all of its contrapuntal difficulty, characterizes much of the social drama that unfolds daily. [ABSTRACT FROM AUTHOR]

Numerous pages have already been filled out about Astor Piazzolla’s operita Maria de Buenos Aires. What I aim to bring anew through this work is the delineation of the musical dramaturgy within this work, with an emphasis on the orchestral ensemble, instrumental architecture, general developmental principles, organization of musical material, created effects, and how they assist in constructing each section. Additionally, I aspire to bring this Piazzollian masterpiece closer to the public. Despite premiering in May 1968, it remains relatively unknown and rarely staged. Librettist Horacio Ferrer employs a “coded,” enigmatic language that is challenging to understand even for Spanish speakers. But the musicality and rhythm provided by his text contribute masterfully to the construction of the work’s dramaturgy, with the operita’s libretto perfectly fitting Piazzolla’s language. Maria de Buenos Aires is an important lesson in composition and orchestration, as well as a model of musical dramaturgy construction. It is also a truly source of inspiration for instrumentalists, singers, composers, orchestrators, or musicologists, as well as for actors, directors, choreographers, and poets.

In this work, we take plantation studies as our starting point to reread Fernando Ortiz's Cuban Counterpoint: Tobacco and Sugar. Our analysis encompasses three aspects: firstly, we examine the most relevant lines of interpretation of the Counterpoint..., particularly, those derived from the notions of transculturation and counterpoint, with the aim of providing continuity and further discussion within the vast and enriching critical tradition that accompanies the text. Secondly, we propose to read certain moments of Ortiz's book from the perspective of plantation studies and the scalability model proposed by Anna Tsing for living amidst the ruins of the Anthropocene. In particular, we are interested in observing its flaws, those small fractions of territory that host non-scalable practices, fostering transformative diversity in social relations. Finally, we speculate about the neobaroque inscription of Ortiz's essayistic work as an alternative practice of transdisciplinarity. [ABSTRACT FROM AUTHOR]

Contrapuntal direction--the principle that certain progressions may only occur through the motion of the contrapuntal voice towards a stable tenor--is a previously unrecognized implication of the teaching of the theorist and composer Johannes Tinctoris. Although Tinctoris's interval successions are commonly the same whichever voice is the tenor, Tinctoris omits a small number of oblique progressions where the tenor would move. Although I will not investigate possible reasons for this omission, examples will show that when the missing progressions occur in repertoire, these can be explained by a reappraisal of the contrapuntal functions of the voices. The results extend Julie Cumming's concept of the "movable module" and demonstrate its presence in music of the 1460s and 1470s. This principle emerges directly from a computer-assisted attempt to connect Tinctoris's counterpoint with late-fifteenth century composition. Through its ability to recognise tenor function within a voice pair, to identify instances where the tenor function may have moved, or to mark voices that do not form a contrapuntal pair, directional analysis is able both to identify faulty analytical assumptions around voice pairing and to act as a validator of general theories of fifteenth-century compositional structure. [ABSTRACT FROM AUTHOR]

Seeking to elucidate aspects of harmonic practice that originated in contrapuntal patterns, this article traces a specific set of voice-leading configurations in which the generative roles of dissonance, counterpoint, and harmonic progression are blurred. These configurations, originating in early eighteenth-century practice, feature upper-voice suspensions, which are notable for their interlocking qualities and for their compatibility with an extended range of thoroughbass patterns and bass motions (Harrison 2003). Segments of such patterns were partially assimilated into later compositional practice and appeared in treatises on fundamental-bass and scale-step systems of harmony, but these configurations revealed a degree of friction between counterpoint-based idioms and the emerging harmonic theories attempting to explain them according to singular principles. The continued appearance of these configurations in subsequent compositional practice raises the question of what aspects of dissonance and counterpoint have been both embedded in harmonic practice and increasingly subordinated to chord structure in the harmonic theories that stretch from Rameau to Schenker. This dialectical engagement between historical theory and compositional practice offers a critique of our inherited harmonic theories, exposing competing conceptions of dissonance and discrepancies over its autonomy relative to harmonic principles. Tracing this history also reveals that the essential connections among rhythm/meter, dissonance treatment, and harmonic progression that are clearly present in eighteenth-century practice--Kirnberger's "rhythmic harmony" (Aldrich 1970)--become increasingly subordinated to harmonic principles in nineteenth-century theory. The historical path of embedded dissonance appears to exemplify Adorno's notion of sedimentation, which offers several interesting disciplinary and aesthetic conclusions about harmonic theory. [ABSTRACT FROM AUTHOR]

The article focuses on the complexities of historical commissions, particularly examining the Indonesia investigation of 2022. Topics include the tension between political objectives and scientific truth-seeking in commissioned historical research, the dilemma of using legal terminology in historical reports, and the effort to avoid the conventional single-authored final report by fostering controlled polyphony among researchers, steering clear of political influence.

This article focuses on the relationship between Leónidas and Osvaldo Lamborghini’s works in the attempt to describe their brotherhood as an existential, literary and also “musical”, bond. Their works, in fact, appear to be based on some notions derived from musical composition and practice – counterpoint, distortion and fugue – which can be applied to the formal analysis of their texts, as well as to their relationship with the wider scenario of Argentinian and international culture in the second half of the 20th century and, finally, to their mutual and multilayered relationship as writers. Such a reading also implies a reconsideration of the label of “neobarroco literature”, as counterpoint and fugue – being mediated by the more modern concept and practice of distortion – directly recall the compositional methods of baroque music.

We re-create the essential results of a 1989 unpublished article by Mazzola and Muzzulini that contains the musicological aspects of a first-species counterpoint model. We include a summary of the mathematical counterpoint theory and several variations of the model that offer different perspectives on Mazzola's original principles. [ABSTRACT FROM AUTHOR]

This article diligently examines the concept of 'testimonial polyphony', as introduced by John Beverley in the 1980s, arguing that the effect is consciously constructed during testimonio's production process. Using Nosotros los humanos: testimonios de los quechuas del siglo XX (1992) as a case study, the article demonstrates how paratextual features can be utilized in such a way as to affect the narrative voice, and frame it as collective in nature. Extensive analysis is undertaken regarding the title, Nosotros los humanos, and the images printed alongside the narrative, to gauge the influence of paratext on the source's message and style. The article argues that the inclusion of a bilingual title and a wide array of images and diagrams is indicative of a strategy followed by the testimonial editors to grant the source an overarching effect of polyphony. [ABSTRACT FROM AUTHOR]

Despite an increasing interest in the sociocultural aspects of teacher professional development and the recognition of context in teacher education, there is a lack of a conceptualisation of how professional learning occurs within and across various contexts. To this aim, we take up a view of professional learning that is dialogic and apply the concept of 'polyphony' to conceptualise teacher practice and teacher professional learning as the teacher's orchestration of multiple voices within context. Inviting 'polyphony' to the realm of teacher education refers to the composition of multiple co-existing contextual affordances and constraints affecting teacher practice. It is the multitude of various and at times disagreeing voices surrounding teacher practice. Our proposed model offers a reflexive definition of 'teacher agency' that involves the recognition of the voices that the teacher draws upon so that they can be interrogated and deliberately invoked or suppressed in practice for particular contexts. We discuss two methodological implications including a polyphonic design methodology of professional learning opportunities, and a polyphonic education research method in addressing the problem of teachers' implementation and adjustment to new practices. [ABSTRACT FROM AUTHOR]

The Master and Margarita is one of the most often translated books in Poland. The first translation was done by Witold Dąbrowski and Irena Lewandowska in 1969, the second by Andrzej Drawicz in 1995. In both these translations, the polyphonic intertextuality of the novel turns out to be particularly problematic. The characters lack their own histories, and in a way they lose their subjectivity. The titular Margarita is a polyphonic heroine par excellence, framed through allusions to both Goethe's Faust and the socio-cultural history of the interwar period. The translators have approached the subject differently by emphasizing or veiling particular elements of the character's creation. As a result, we are presented with images of the heroine that, in their own ways, vary from Bulgakov's version. [ABSTRACT FROM AUTHOR]

This article discusses the uses of polyphony in the literary works of Ewa Kuryluk. They manifests themselves on various levels in texts that may appear formally distinct from each other but have a crucial common denominator. Polyphony in Kuryluk's works is examined in reference to the construction of literary characters, as well as to categories such as hybridization, transmediality and interdiscursivity. [ABSTRACT FROM AUTHOR]

Wacław Berent's novel Rotten Wood has often been described as polyphonic by literary historians. Critical voices expressed at the time of Young Poland (Włast-Komornicka, Brzozowski) and Berent's own comments shed light on the expectations of the reading public when the novel was published. They were influenced by the popularity of symbolism its underlying worldview - spiritualistic monism. This helps explain the tension between the polyphony of Rotten Wood and the views on art and creation articulated by its characters, most importantly concerning the identification of art with acting. On the one hand, the dramatic form of the novel seems to embody the idea of the momentary transcending of the past and its limits, but on the other, it can be seen as a response to the concepts formulated in the novel's dialogues. The significance of another's word and dialogical relationships between different levels of text connects the poetics of Rotten Wood to polyphony in the Bakhtinian sense. [ABSTRACT FROM AUTHOR]

The article addresses the problem of polyphony in Joyce Carol Oates's novel The Gravedigger's Daughter. Polyphony is considered not only as a procedure related to textual poetics, but a starting point for placing the compositional and stylistic organization of a literary work in the context of the assumptions of pragmatism and posthumanism. The category derived from Bakhtin's theory can be used to conceptualize the phenomenon of „voices", a form of constructing the identity of the novel's protagonist. „Voices" are quotations of thoughts and statements of other characters in the work, penetrating the inner life of the main character. Multi-voice subjectivity, which is suggested by the procedure of „quoting" voices, establishes a version of identity which is highly dialogical, indeterminate, dynamic and unstable. The world presented in the novel is likely to imply contradictory, ambiguous ideas as to whether American social life supports or prevents individual freedom. Polyphonic subjectivity in Oates' novel entails the acceptance of the pluralism and indeterminacy of the presented world and of the dialogical, incomplete identity of the characters. Thus, the literary form develops an epistemology and an aesthetics equivalent to the philosophical stances of pragmatism and posthumanism. Tracing the „voices" scattered throughout the work requires so much cognitive effort from the reader that it makes them a co-participant in the process of meaning-making. [ABSTRACT FROM AUTHOR]

The article analyzes Inga Iwasiów's Chronicles of Resistance and Love and Wioletta Grzegorzewska's Wolf River through the prism of polyphony, pointing to the two writers' strategies of breaking taboo topics and interrogating the habits of reading. Through images of chaos, both Iwasiów and Grzegorzewska show the disintegration of identity and the consequences of the loss of stability. By addressing difficult topics (such as among others: the loss of a loved one, widespread hatred, chauvinism, COVID-19 pandemic, toxic marriage, domestic violence or hardships of emigration) they present successful efforts to overcome a crisis and to build one's life anew. [ABSTRACT FROM AUTHOR]

The article discusses polyphonic narrative strategies typical of postmemorial prose on the example of Ewa Lipska's novel Sefer, framing it through references to Bakhtin's categories of polyphony, non-co-presence and the two-voice word, on the one hand, and to concepts of postmemory (Marianne Hirsch's category) and hauntontology (Jacques Derrida's concept), Nicolas Abraham and Mária Török's cryptological theory, and the Freudian metapsychology of the secret, on the other. The polyphonic nature of the text reflects the dynamics of intergenerational transmission of trauma, revealing a subjectivity haunted by traces of violence that take the form of extensive allusions and textual tropes. Lipska deconstructs the postmemorial model of the narrative of return, questioning the reparative abilities of acts of imagination. [ABSTRACT FROM AUTHOR]

The category of polyphony, related to musical polyphony, was adapted to the field of literary studies by Mikhail Bakhtin who, analyzing the works of Fyodor Dostoyevsky, referred it to the genre of the novel. In this article, the author perceives polyphony broadly, and focus on the recognition and description of related textual strategies and their functions not only in literature at different levels of its artistic organization but also in conceptual translation that takes into account parody of style. The article shows the strategy of polyphonic transposition in the text „How would Bolesław Leśmian write a poem «Mary Had a Liitle Lamb» in English" written by Marian Polak Chlabicz. [ABSTRACT FROM AUTHOR]

In the Istitutioni harmoniche , Zarlino describes a compositional process in which a countermelody that is introduced against a principal soggetto can itself become a soggetto for the next phrase, and the process can be repeated in subsequent phrases. This study shows how comporre di fantasia functions in passages from Martini, Févin, Isaac, and Josquin. The technique can also inform our understanding of canon composition, which is illustrated with two examples by Pierre de la Rue. For the study of canons at different time intervals, I also invoke the neglected theories of Robert Morris, Robert Gauldin, and Immanuel Ott. Comporre di fantasia is a structural category that provides insight into compositional process in Renaissance polyphony. [ABSTRACT FROM AUTHOR]

William Byrd was an unusually creative contrapuntist: he is known for his virtuosic double counterpoint, his expressive manipulation of soggetti (imitative subjects), his capacity for exhausting possible contrapuntal combinations in stretto passages, and his points of imitation that build toward an expressive climax (what Joseph Kerman [1981 ] has described as Byrd's "cumulative" imitation). This article addresses a cumulative technique that has not previously been identified: syllable-invariant counterpoint. Byrd often develops points of imitation where the soggetto is solmized identically in two hexachords (what sixteenth-century theorists called fuga , in contrast to imitazione). But Byrd frequently builds points toward an extra statement of the soggetto in a new, bonus hexachord; this transposition introduces a new semitone foreign to the work's local tonality. Byrd thematizes syllable invariance throughout his vocal repertory, particularly in his serious motets. This article shows how Byrd combines syllable-invariant counterpoint with a variety of distinct imitative strategies to achieve specific expressive and tonal goals. The article further considers the implications of syllable invariance for tonal structure in Byrd's music. Syllable-invariant counterpoint makes visible the constraints and affordances of Byrd's tonal system, the Guidonian diatonic gamut under hexachordal solmization. Byrd carefully controlled the tonal compass of his works by using syllable invariance, among other strategies, to manipulate his counterpoint's "chromatic" ambit. Syllable-invariant counterpoint—which Renaissance musicians would have understood as a diatonic, not chromatic, strategy—encompasses Byrd's contrapuntal, expressive, and tonal compositional techniques. [ABSTRACT FROM AUTHOR]

The article discusses the application of "polyphony," a concept borrowed from literary critic Mikhail Bakhtin, to documentary filmmaking, emphasizing its effectiveness in telling complex stories about systemic issues through a non-hierarchical, multivoiced approach. It examines three documentary films, including the Black Audio Film Collective's "Handsworth Songs" (1986), Sabine Gruffat and Bill Brown's "Speculation Nation" (2014), and Brett Story's "The Prison in Twelve Landscapes" (2016).

The revival of Formenlehre studies has initiated a renewed interest in formal functions in atonal music. Schoenberg, who pioneered the study of formal functions, did not extensively analyze his atonal music from a formal point of view. Recent scholars, however, have drawn parallels between the formal construction of his atonal music and common-practice tonal music. One impediment to such analysis is the lack of a theory of counterpoint and harmony upon which formal-functional analysis rests. I propose a normative contrapuntal-harmonic structure for Schoenberg's atonal music I call the "chromatic cadence." I trace its origins to voice-leading techniques used by Schoenberg in his earlier tonal music and develop fundamental principles that guide the analysis and identification of the cadence in his atonal music. I conclude with a detailed analysis of Schoenberg's piano piece, op. 19, no. 1, in which I examine the interrelationship of its motivic construction, contrapuntal-harmonic structure, and its formal functions. [ABSTRACT FROM AUTHOR]

Symbolism distinguished itself in world culture in that its representatives were inclined to a dialogue and intersection of different types of art. In Russian literature, one of the brightest examples of such a synthesis is the work of Andrei Bely (Boris Bugaev; 1880–1934). The aim of the present article is to consider the writer’s ideas about music itself. As the main source we use Bely’s treatise The History of the Formation of the Self-Conscious Soul. Bely in his Symbolist articles of the 1900s laid down the idea of musical art as an antinomy, which emphasized the troubling importance of the problem, but did not principally imply any positive answer. However, in his anthroposophic treatise The History of the Formation of the Self-Conscious Soul (1926–1931), enormous in volume and scale of the material, the author’s antinomical understanding of music was transformed into a structure which is extremely complicated, but consistent. That is why Andrei Bely does not apply the word “antinomy” to music, but he extensively uses the musical term “counterpoint” (together with other musical terms). Whereas the word “antinomy” pointed at some irreconcilable conflicts, on the contrary, a “counterpoint” introduces these clashes into the frame of a single structure of a system, thus reconciling them. Accordingly, the romance “It is so sweet to be with you” by Mikhail Glinka (called in The History “the greatest genius”) contains, in Andrei Bely’s texts, the message of a wide spectrum.

« This Woman’s Work », written and composed by Kate Bush for the American movie She’s Having a Baby by John Hughes, which premiered in 1988, depicts the anguish of a man in the waiting room of a maternity ward. Later included in the album The Sensual World, the song was notably used in the TV show The Handmaid’s Tale, adapted from Margaret Atwood’s novel and in the feminist sci-fi show Le Parasite, performed on April 15, 2022 at the Université Jean Jaurès. Those dystopic tales seem at first quite remote from the romantic comedy for which the song was initially written. By analyzing different scenes – both cinematographic and theatrical – associated with the song, we will show that new tales can emerge from those seemingly disharmonious associations.

The article presents the discussion on separability does to the relationship with reality, time, knowledge, pain, life, and death, and to our sense of being, belonging, and worth. Topics include entanglements with the more-than-human, polyphony, and discerning engagements with technology; and novels explore the limits of representation through the use of allegorical worlds and the supernatural.

Studies of tonality in Monteverdi's madrigals have focused on cadential harmonies at phrase endings, for the most part ignoring the music that comes in between. The present study, focusing on homorhythmic music, identifies three elements lying between chordal arrivals: schemata, splices, and elisions. Schemata are short conventionalized outer-voice progressions that can connect a variety of starting and ending chords; splices are alterations by which the second version of a progression is varied when it is repeated in transposition; and elisions are made by common tones between the last chord of one progression and the first of the next. Each one of these essentially contrapuntal strategies is a crucial building block of Monteverdi's tonal structures: together they contribute to closing tonal circles, to an expressive use of register, and to meaningful changes of texture. [ABSTRACT FROM AUTHOR]

The article discusses three case studies, to highlight the long path travelled by all-women polyphonic vocal ensembles to reach the traditional music stage in mainland Portugal. The article reflects on the issues of representativeness and recognition of the creativity of women. The underlying reference is Ellen Koskoff's (2014) call for the need to study categories such as women, men, or gender transculturally and at the cumulative intersection of many differences and inequalities. The article argues that (1) the members of all-women polyphonic vocal ensembles experienced and still experience difference and inequality at various levels; (2) the intersection of all those differences conditions the ways in which these women are perceived in society, which is further reflected in their degree of autonomy to undertake representations and exercise creativity. Nevertheless, the differences and inequalities faced by these female polyphonic singers have progressively been negotiated and transformed over time. In this process, we, the researchers, also have a role to perform. [ABSTRACT FROM AUTHOR]

This research aims to study the poet's memory relationship with rhythm and to clarify this relationship by highlighting it in some of the poems collected in the book of the Fatimids, and the researcher chose (counterpart, alliteration, rotation and repetition); Because it formed a prominent phenomenon in the poets' use of it extensively in the Fatimids book, as well as its good ability to create a hidden rhythm that attracts the listener, and shows the poet's linguistic and artistic ingenuity, then we link these generated rhythms with the memory of the poet. [ABSTRACT FROM AUTHOR]

This article considers the counterpoint in jazz between the implied, underlying form and what is actually played in a given performance. My observations are framed within a model for jazz listening called “Stable Norms and Salient Deviations” (SNSD). Detailed analysis of an improvisation by jazz/R&B musician Robert Glasper demonstrates how my ideas about voicings are applicable to melodic improvisation. In addition to investigating theoretical and analytical matters, the essay explores the creative potential of my approach. Dieser Artikel betrachtet den Kontrapunkt im Jazz zwischen der implizierten zugrunde liegenden Form und dem, was tatsächlich in einer bestimmten Aufführung gespielt wird. Meine Beobachtungen sind in ein Modell für das Jazz-Hören mit dem Namen „stabile Normen und markante Abweichungen“ eingebettet. Die detaillierte Analyse einer Improvisation des Jazz-/R&B-Musikers Robert Glasper zeigt, wie meine Ideen zu Voicings auf melodische Improvisation anwendbar sind. Neben der Untersuchung theoretischer und analytischer Fragen untersucht der Essay das kreative Potenzial meines Ansatzes.

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In this article, I offer a personal and critical analysis of The Pink Supper, a protest-performance created in collaboration with Biño Sauitzvy in 2019. It is written using three modes of expression: (a) critical writing, which appears in roman type, (b) internal conversations, in italics and (c) excerpts from the performance itself, in bold. In engaging three distinct voices, I take a queer approach to writing. The polyphony tears up traditional rules of top-to-bottom knowledge transmission. It abandons formal narrative structures. In their stead, I actively embrace a somewhat 'disorganised' rhetoric by tightening horizontal bonds with queer writers who have adopted a similar approach. [ABSTRACT FROM AUTHOR]

Many of the sound recordings of the 'Are'are panpipe ensemble music made by Hugo Zemp are characterized by polyphonic and cyclical features. This article analyzes two cyclic pieces from the 'au tahana repertoire in order to articulate the 'Are'are conceptions of musical structure and aesthetics described by Zemp (1979) through the perspectives of counterpoint and formative process. I first scrutinize the counterpoint formed by the two cyclic strata in the selected pieces. Comparing these details with hypothetical models where the cycles are aligned shows that a rhythmic delay between the strata is essential to provide continuity and momentum to the repeating cycles, which also evinces 'Are'are musical aesthetics. I then show that, aside from the contrapuntal driving force, the way that the cycles are actually realized and varied is crucial in directing the processes in 'Are'are music. I suggest that even minimal variations can be instrumental in forging a large-scale form. [ABSTRACT FROM AUTHOR]

This paper discusses connections between Gioseffo Zarlino’s theory of counterpoint and the ancient theoretical tradition. Basic definitions and the placement of the theory of counterpoint in the broader context of Zarlino’s treatise Harmonic Institutions (Le istitutioni harmoniche, 1558) are followed by examples of various rules of counterpoint: the use of dissonances, the use of the fourth, the characteristics of minor and major thirds, the use of chromaticism and enharmony, and rules for setting text to music. [ABSTRACT FROM AUTHOR]

In this article, the researcher deals with the rhythmic structure of the poem Al-Khansaa, which is divided into two parts: the external rhythm and the internal rhythm? The first of them includes weight, the sea of the poem, the slips and causes of the sea of the poem, the beginning, the syllable, the rhyme and its significance, the letters of the rhyme, and the inflection. The second contains the phonetic structure of the text and the creative colors, on top of which are: anaphora, counterpoint, repetition, and embroidery. The researcher studied all these phenomena in the poem in simplicity and detail, and explained its rhetorical and stylistic secrets and its intended concepts. Then he dealt with the morphological formulas found in the poem and their semantic impact, and at the end of the article he wrote the results he reached during writing the article. [ABSTRACT FROM AUTHOR]

Bakhtin famously argued that language-as-used is essentially dialogic. One pragmatic implication concerns how dialogicity is established in various contexts. In political discourse, polemic polyphony emerges from the juxtaposition of adversarial voices of political actors: a dialogue in which different voices index different ideological orientations. Polyphonic ensembles establish discoursal scenes and make them recognizable, enabling distinctions such as those between 'us' and 'them', and between heroes and villains. Overall, they assist speakers in the semiotic mediation of political relations. The corpus includes eighteen speeches delivered during a dissent event that takes place after the Sheikh Jarrah weekly anti-occupation demonstration in East Jerusalem. The speeches are given in Hebrew by a Palestinian neighborhood resident and activist, to a small audience of regular Jewish-Israeli protestors. Through studying noninstitutionalized political discourse, dialogicity and polemic polyphony are illuminated in an on-the-ground, context-rich, and marginalized setting. [ABSTRACT FROM AUTHOR]

Willaert’s contrapuntal idiom in Musica Nova (1559) has been characterized as “elusive” because it “largely eschews imitative textures, clear cadential articulations, distinctive rhythmic patterns and tuneful melodic ideas (soggetti)” (Fromson 2001). The present study aims to elucidate Willaert’s contrapuntal techniques in a late madrigal, “Io mi rovolgo.” Here, Willaert distinguishes sections by applying a different contrapuntal technique to each. In the absence of cadences and changes of texture, these switches of technique neatly articulate the structural members (verses, quatrains, etc.) of Petrarch’s sonnet. The analysis of the madrigal is based on melodic repetition, and relies in part on breaking long melodies into tiny fragments, using Rifkin’s principle of “motivicity” (1998). [ABSTRACT FROM AUTHOR]

The purpose of this study is to examine the multi-voicedness techniques in E.M. Forster’s A Passage to India and George Orwell’s Burmese Days, in terms of the narrator’s role and the plurality of voices and consciousnesses. This paper used the concept of polyphony which was coined by Bakhtin as a methodology in analyzing and examining the aforesaid novels. The results of this study showed that; First, both novels used the omniscient narrator as a narrative technique, since the voice of the author was evident on more than one occasion. Moreover, there was an influence by the omniscient narrator on the reader, which might be considered significant on more than one occasion, in controlling and manipulating his decisions and views in A Passage to India, while the influence was minuscule in Burmese Days. Second, this paper proved that the aforesaid novels are polyphonic ones. Finally, both authors gave a considerable margin of freedom for each character to express their ideologies freely. [ABSTRACT FROM AUTHOR]

Human remains are endowed with a diversity of meanings and values in various contexts. Their metaphysical status can change, from that of a subject to an ‚object' and vice versa. They can be seen as valuable scientific specimen, as objects of exchange or as ‚negative capital' and the embodiment of the horrors of a violent colonial past. Such value ascriptions are often in conflict epistemically and ideologically, relating to contrasting socio-political agendas. This article explores selected examples of such a polyphony of significance, past and present, ascribed onto human remains in academic collections. [ABSTRACT FROM AUTHOR]