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This essay argues that notebooking practices—regular, routine writing about everyday experience—focused on the felt experiences of sonic / musical activity can be used to generate new forms of becoming and being. To do so, I begin with how such notebooking constitutes a daily, habitual, and revelatory practice. I then describe how notebooking is a potentially unique means of exploring the value of writing about music. Building on this potential, I look to how the rhythmic dimensions of sonico-musical experience can create interesting forms of resonance. Finally, in way of illustration, I offer a case study of my own notebooking focused on the resonant rhythms that have appeared at the nexus of my playing drums in a part-time touring rock band while carrying out my full-time work as a composition professor. [ABSTRACT FROM AUTHOR]

An introduction to articles in the issue is presented on topics including literature and music, French rap music, and Bahaa Trabelsi's queer Maghrebi literature.

Copyright of Pixel-Bit, Revista de Medios y Educacion is the property of Pixel-Bit, Revista de Medios y Educacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper traces the centrality of rivers in twentieth-century and contemporary popular music and poetry in the regional context of Punjab in the north-west of the subcontinent. In contrast to the riverine imaginations in the songs of eastern or central India, we look at the very different evocations of rivers—both real and conceptual—in the subcontinent's north-west. Rivers feature centrally in the love legends, devotional and folk poetry, and songs of Punjab, and here we trace a river-based 'hydropoetics' in Punjab, querying land-focused perspectives. From the metaphysical and the sacred to the sensual, and from the realms of the quotidian to those of mourning and trauma, we argue that in Punjab, 'singing the river' is central to people's definitions of regional and ontological identity, and to the way they understand their place in the world. [ABSTRACT FROM AUTHOR]

This section presents an interview with American poet Charles Bernstein. Topics discussed include his interest in music and poetry particularly the works of composer John Cage and poet Jackson Mac Low, comparison between his poetics and the compositions of Cage, and the distinct characteristics of his poetic structure.

Popular music often seems alien to literature's formal explorations and concerns. Existing studies on literature and pop music have mostly focused on ideological and political aspects derived from plot elements, but have discounted the possibility of technical or compositional influence. One may wonder what trace, if any, this ubiquitous music has left, besides being present or mentioned in the storyline. Has it provided literature with any significant narrative models? These are the questions that this article tries to answer. To do so, I first introduce the relevant framework of music and literature studies, propose the notion of a musical superstructure, offer a definition and elaborate on its main features, and then refer to several literary works where it can be found. Finally, I expand on the main narrative consequences that using a musical superstructure may have, such as lacking a sense of direction, restarting the story with each chapter, or infusing structure and form with the thematic concerns that a novel addresses. Rooted firmly in previous studies in music and literature, the idea of "musical superstructure" is a novel tool for understanding pop music within literary fiction, binding together rich and diverse structural models that literature has developed and will keep expanding upon. [ABSTRACT FROM AUTHOR]

This article studies some mathematical concepts which may be ramified in cultural environments, particularly in music and literature. The notions of definability (What may we capture with language, what escapes us?), representation (Which archetypes may be projected onto the world, which types arise from such projections?) and categoricity (Which unitary concepts govern the multiplicity of languages and images?) are narrowly linked with the essential issue of the trans, perhaps the crucial problem of our fleeting times. [ABSTRACT FROM AUTHOR]

This article historicizes musical symbolism in Melvin B. Tolson's poem "Dark Symphony" (1941). In a time when Black writers and musicians alike were encouraged to aspire to European standards of greatness, Tolson's Afro-modernist poem establishes an ambivalent critical stance toward the genre in its title. In pursuit of a richer understanding of the poet's attitude, this article situates the poem within histories of Black music, racial uplift, and white supremacy, exploring the poem's relation to other media from the Harlem Renaissance. It analyzes the changing language across the poem's sections and, informed by Houston A. Baker Jr.'s study of "mastery and deformation," theorizes the poet's tone. While prior critics have read the poem's lofty conclusion as sincerely aspirational toward assimilation, this article emphasizes the ambiguity, or irony, that Tolson develops: he embraces the symphony's capacity as a symbol to encompass multiple meanings, using the genre metaphorically as a mark of achievement, even as he implicates such usage as a practice rooted in conservative thought. The "symphony," celebrated as a symbol of pluralistic democracy and liberal progress, meanwhile functions to reinforce racialized difference and inequality—a duality that becomes apparent when this poem is read alongside Tolson's concurrent poems, notes, and criticism. Such analysis demonstrates that "Dark Symphony" functions as a site for heightened consciousness of racialized musical language, giving shape to Tolson's ideas as a critic, educator, and advocate for public health. [ABSTRACT FROM AUTHOR]

This contribution examines the creative energy behind the ongoing protests in Belarus, with a focus on poetry and music. Belarus is traditionally a "versocentric" society, where poetry and music have historically played important roles in consolidating national culture. In the 2020 protest movement, fast and widespread distribution through social media has made poetry and music a crucial instrument for cementing a sense of collective identity among protestors, establishing transnational solidarity, and affecting the emotional regime of Belarusian society. [ABSTRACT FROM AUTHOR]

The article focuses on acts of refusal as a form of liberation and means of asserting human dignity by African captives and enslaved people during Transatlantic Slave Trade. Topics include Refusal was a definitive action of defiance, encoded in Black mythologies, in music and literature, as demonstrated in works by Maryse Condé, Toni Morrison, and Dionne Brand; and legacy of West African cosmologies allows people of African descent to develop forms of refusal that challenge western capitalism.

The article offers information on the history of liturgical music in the Western Church and Saint Augustine. It further discusses about his impact on the comprehension of music and beauty in liturgy was both positive and negative; according to the Pythagorean and neo-Pythagorean theory, reflections of eternal numbers existing in the realm of ideas; and further mentions that St. Augustine comprehends music as poetry, melorecitation or rhythmicized speech.

The article introduces students to "Hamilton: The Revolution", book by Jeremy McCarter and Lin-Manuel Miranda, through a Listening Project unit that values hip-hop music and engages our American literary histories. Topics discussed include recommendations to use hip-hop to open the door to conversations about racial justice; aim of Hamilton Listening Project to connect students with the ideas of the Revolutionary Era; and role of immigration and enslavement in the making of the U.S.

This paper aims to explain the role that paratexts play in novels -and literary works in general- that imitate or reproduce musical patterns, supporting the thesis that they are often decisive for generating a musical reading of a text. A body of works from Spanish and Latin American fiction seldom explored from this perspective and the conceptual frame developed by Wolf or Petermann constitute the basis for an explanation of the various meanings that titles may acquire. Special attention is paid to the issue of how to understand generic titles as "sonata", "symphony" or "fugue" when they point out to a musical dimension that is otherwise difficult to justify. Also, it is proposed a distinction between paratexts with a weak or a strong deontic power, as well as the idea that without some kind of thematisation, there is not musical imitation. [ABSTRACT FROM AUTHOR]

For many years, scholars have represented the frottola repertory as light-hearted, frivolous, often bawdy songs – the purview of the uneducated – and many of them are exactly this. But within this repertory are also songs based on biblical passages and psalms that bring religious themes into a highly secularised context, offering lay interpretations of sacred scriptures. The most famous example of this is Josquin's 'In te domine speravi', based on Psalm 30. The example of 'Vox clamantis in deserto', though, offers an intriguing instance of a song that shows evidence of both oral and written composition. This performative compositional history calls into question the song's authorial attributions to Serafino Aquilano, Antonio Tebaldeo, and Bartolomeo Tromboncino, and highlights the complex, nuanced character of the genre as a whole. [ABSTRACT FROM AUTHOR]

Copyright of Cahiers Elisabethains: A Biannual Journal of English Renaissance Studies is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A literary criticism of the book "Popsongar" by Frode Grytten is presented. The book is a collection of short stories where each story is written based on a song, is an ambitious attempt to bridge the divide between music and literature. In his rhythmic, flowing prose, he manages to capture some of the qualities of pop music.

An essay is presented which discusses works of literature published as memoirs that feature fictional content. Framed in terms of a fictitious rating system entitled "the fake-o-meter," the author describes several books and essays in terms of their content's authenticity, public opinion, and morality. Titles referenced in the article include "A Million Little Pieces" by James Frey, "Fragments" by Benjamin Wilkomirski, and "The Fourth State of Matter" by JoAnn Beard. In addition to her discussion of each work, the author also includes her comparison of the work to musical pieces and artists, which include the Backstreet Boys, Frank Sinatra, and Bill Withers.

Throughout his long and varied playwriting career, Frank McGuinness has made extensive use of music from a plurality of genres. Music plays a variety of roles in the plays, supporting and enriching dramatic themes and moods. The music of Irish English, particularly the music of his native Donegal, is also an important element, often used in contrast to accents from other areas and classes. Music in a McGuinness play may be diegetic or incidental. Music and the music of language may involve counterpoint, balance, underscoring, delight, or a contrast to surrounding silence. Donegal (2016) continues McGuinness's habit of incorporating musical works of various origins and styles, but it also includes pieces co-created by Kevin Doherty (music) and McGuinness (lyrics). It is the latest evidence that in a McGuinness play music and musical language carry meanings important to the drama. [ABSTRACT FROM AUTHOR]

Evidence in the literature suggests that listening to music can improve cognitive performance. The aim of the present study was to examine whether the short- and long-term gains of a working memory (WM) training in older adults could be enhanced by music listening—the Mozart's Sonata K448 and the Albinoni's Adagio in G minor—which differ in tempo and mode. Seventy-two healthy older adults (age range: 65–75 years) participated in the study. They were divided into four groups. At each training session, before starting the WM training activities, one group listened to Mozart (Mozart group, N = 19), one to Albinoni (Albinoni group, N = 19), one to white noise (White noise group, N = 16), while one served as an active control group involved in other activities and was not exposed to any music (active control group, N = 18). Specific training gains on a task like the one used in the training, and transfer effects on visuo-spatial abilities, executive function and reasoning measures were assessed. Irrespective of listening condition (Mozart, Albinoni, White noise), trained groups generally outperformed the control group. The White noise group never differed from the two music groups. However, the Albinoni group showed larger specific training gains in the criterion task at short-term and transfer effects in the reasoning task at both short-and long term compared to the Mozart group. Overall the present findings suggest caution when interpreting the effects of music before a WM training, and are discussed according to aging and music effect literature. [ABSTRACT FROM AUTHOR]

This article tells the long history of poetry's relation to music and religion through the story of common meter in the sixteenth and seventeenth centuries. Combining a new formalist sensibility of the text together with the more recent theories developed by the New Lyric studies, it aims to correct a critical coding of early modern poetry that distinguishes popular--as verse, meter, doggerel, rhyme--from elite, "literary" poetic production, despite its best-known poet, Thomas Sternhold, being a member of elite court circles. Enabled by a blinkered focus on a so-called "purely literary" poetic heritage routed through Tottel's Miscellany, the history of the sound of post-medieval English poetry has relied on divorcing it from its origins in musical church practices. Taking up the examples of Thomas Wyatt and George Herbert and then turning to Thomas Hardy and George Eliot's depictions of the nineteenth-century schism in church musical practices, this essay reveals how writers at once depended upon the common meter of Sternhold and John Hopkins while increasingly insisting upon an emerging literary elite at a distance from such metered rhyme. [ABSTRACT FROM AUTHOR]

The following paper examines the different aspects of music (vocal and instrumental) and verse in relation to the life and character of Aragorn, considering him as a musician and poet in his own right, as someone who understands and appreciates music and poetry, and as the subject of songs and verses. Particular attention is paid to his circumstances and emotions, thus gaining psychological insight into the nature of his struggles and hardship. Overall the discussion is set within the context of the significance of music in Aragorn's Maian/Elven ancestry and background, and in his role in Tolkien's legendarium. [ABSTRACT FROM AUTHOR]

The article approaches the violent potential of music in Kleist's short story 'Die Heilige Cäcilie oder Die Gewalt der Musik' by exploring intermedial references to music. How is music connected not only to power but also to violence? Which characteristics of music (and of the language used to describe it) are highlighted in this process? In the story, music appears less as sonority and more as bodily experience and therefore the experience of music and of violence become ambiguous and difficult to tell apart. As a result, all the dichotomies in which music and violence are usually firmly integrated, such as body and spirit, order and chaos, pleasure and pain, male and female, start to break down. The narrator equalises these perceived dissonances by adding further inconsistencies, in a similar way to tempered tuning that slightly compromises the intervals of just intonation. The ambiguous relation of music, violence, and power cannot be resolved; the ambivalent tension it creates demonstrates performatively the manipulative power of language. [ABSTRACT FROM AUTHOR]

Copyright of Tradução em Revista is the property of Faculdades Catolicas - Pontificia Universidade Catolica do Rio de Janeiro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on American poet and critic Ezra Pound which sounds a cautionary note as to what both poetry and music and alliance of print literature, musical scores, and sound technology typifies a language. It mentions aversion to technological language is symptomatic of Pound's technological poetics and poetry's proximity to machinery is enticing for a poet pursuing a program of radical reform. It also mentions experiments with typography and contributions to modernist literature.

• An intersectional feminist critique is relevant to current music therapy improvisation theories and practices. • The potential for embedded oppressions within music therapy improvisation is made visible and addressed by an intersectional perspective. • Further educating music therapists regarding intersectionality would benefit improvising music therapy practitioners and their clients. In this recuperative critique the author analyzes aspects of music therapy improvisation, including the therapeutic relationship, music, and the act of improvisation as well as its inherent body politics and its understandings of situated knowledge, from an intersectional feminist perspective. Based upon this analysis, the author invites readers to reconsider and reshape the accepted theories and practices of improvisation in music therapy. Links are made to relevant music therapy literature. Recommendations are offered to establish intersectional awareness as a foundational competency in music therapy improvisation. [ABSTRACT FROM AUTHOR]

In this article, we outline and explore a plural and flexible methodology for engaging with the contemporary music memoir. These are texts in which narrative experimentation and self-conscious interrogations of voice shape content. They are texts that blur and blend the lines between memory, storytelling and myth. They offer a literate and culturally engaged reader the opportunity to shape their own musical histories and memories. We view these titles as a new and emerging genre. Our work, which we are developing in a forthcoming edited collection entitled Music, Memory and Memoir, approaches this fluid genre with a fluid methodology. We combine scholarly rigor and critical analysis in our readings of text but these combine with an open-ended and reflexive approach to our own critical and cultural voices. [ABSTRACT FROM AUTHOR]