Non-Native Differences in Prosodic-Construction Use

Many language learners never acquire truly native-sounding prosody. Previous work has suggested that this involves skill deficits in the dialog-related uses of prosody, and may be attributable to weaknesses with specific prosodic constructions. Using semi-automated methods, we identified 32 of the most common prosodic constructions in English dialog. Examining 90 minutes of six advanced native-Spanish learners conversing in English, there were differences, notably regarding swift turn-taking, alignment, and empathy, but overall their uses of prosodic constructions were largely similar to those of native speakers

Modern Interpretation of Ornamentation in Naftule Brandwein’s Firn Di Mekhutonim Aheym and Der Heyser Bulgar

Research on the klezmer revival is wanting both in size and scope. Much of the existing research focuses on extra-musical influences on modern klezmer music with only tangential study of performance practice. This study seeks to inform the body of literature on klezmer performance practice by analyzing and comparing the interpretation of melody and ornamentation in modern performances of Der Heyser Bulgar and Firn di Mekhutonim Aheym, two of famed clarinetist Naftule Brandwein’s (1884–1963) most popular tunes. Analysis of ornamentation in modern performances of the selected recordings reveals a marked shift in modern style when compared to Brandwein’s original recordings. When other musical elements were stripped away leaving the focus on ornamentation, the element that most clearly defines klezmer music from other folk musics, significant inconsistencies were found when comparing to Brandwein to modern performances. However, some of these inconsistencies between more recent recordings and those of Brandwein indicated meaningful agreement between modern performers. These findings of a shared aesthetic among modern performers of klezmer music call into question common beliefs about klezmer music’s past and present and should have a significant impact on discussions of authenticity

TUTTI! - Music Composition as Dialogue

As an engineer, when I could not comprehend a physical phenomenon, I turned to mathematics. As a mathematician, when I could not link sciences to humanity, I turned to music. As a music composer, I no longer see things, I see others. The novel method of music composition presented herein is a first comprehensive framework, system and architectonic template relying on the ideologies of Mikhail Bakhtin's dialogism as well as on research in auditory perception and cognition to create music dialogue as a means of including and engaging participants in musical communication. Beyond immediate artistic intent, I strive to compose music that fosters inclusiveness and collaboration as a relational social gesture in hope that it might incite people and society to embrace their differences and collaborate with the 'others' around them. After probing aesthetics, communication studies and sociology, I argue that dialogism reveals itself well-suited to the aims of the current research. With dialogism as a guiding philosophy, the chapters then look at the relationship between music and language, perception as authorship, intertextuality, the interplay of imagination and understanding, means of arousal in music, mimesis, motion in music and rhythmic entrainment. Employing findings from Gestalt psychology, psychoacoustics, auditory scene analysis, cognition and psychology of expectation, the remaining chapters propose a cognitively informed polyphonic music composition method capable of reproducing the different constituents of dialogic communication by creating and organizing melodic, harmonic, rhythmic and structural elements. Music theory and principles of orchestration then move to music composition as examples demonstrate how dialogue scored between voice-parts provides opportunities for performers to interact with each other and, consequently, engage listeners experiencing the collaboration. As dialogue can be identified in various works, I postulate that the presented Dialogical Music Composition Method can also serve as a method of music analysis. This personal method of composition also supplies tools that other musicians can opt to employ when endeavouring to build balanced dialogue in music. If visibility is key to identity, then composing music that potentially enters into dialogue which each and every voice promotes 'humanity' through inclusivity, yielding a united Tutti

Topics, presuppositions, and theticity: An empirical study of verb-subject clauses in Albanian, Greek, and Serbo-Croat

LoC Class: PG9522, LoC Subject Headings: Albanian language--Clauses, Greek language/Modern--Clauses, Serbo-Croatian language--Clause

Russian Formalism

Russian Formalism, one of the twentieth century's most important movements in literary criticism, has received far less attention than most of its rivals. Examining Formalism in light of more recent developments in literary theory, Peter Steiner here offers the most comprehensive critique of Formalism to date. Steiner studies the work of the Formalists in terms of the major tropes that characterized their thought. He first considers those theorists who viewed a literary work as a mechanism, an organism, or a system. He then turns to those who sought to reduce literature to its most basic element.<p

Music, Art and Emotion

This book explores the ways in which four visual artists make sense of referentialism and emotion in music. By listening to five art songs by Schubert, Strauss, Fauré and Berlioz they were inspired to create new artworks as a result of their understanding of the meaning of the art songs. This was done without an understanding of the text, and the artists had to rely on referential meaning in music as well as the perceived or evoked emotions elicited by listening to the art songs. The artworks created as a result of this project were exhibited at the Aardklop National Arts Festival, entitled Nagmusiek. This was a multi-modal exhibition featuring music, art and text. This book employs Artistic Research and Phenomenology in order to understand this phenomenon, as I explored the artists’ creative processes, experiences and the tacit knowledge embedded in their artefacts. This book would provide readers access to 20 new artworks, each created as a result of the artists’ interpretation of the meaning they ascribed to art song. Their creative process is also examined and synthesised with existing literature on emotion and referentialism in music