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Cathy Berberian (1925-1983) was a vocal performance artist, singer
and composer who pioneered a way of composing with the voice in the
musical worlds of Europe, North America and beyond. As a modernist
muse for many avant-garde composers, Cathy Berberian went on to
embody the principles of postmodern thinking in her work, through
vocality. She re-defined the limits of composition and challenged
theories of the authorship of the musical score. This volume
celebrates her unorthodox path through musical landscapes,
including her approach to performance practice, gender
performativity, vocal pedagogy and the culturally-determined
borders of art music, the concert stage, the popular LP and the
opera industry of her times. The collection features primary
documentation-some published in English for the first time-of
Berberian's engagement with the philosophy of voice, new music,
early music, pop, jazz, vocal experimentation and technology that
has come to influence the next generation of singers such as Theo
Bleckmann, Susan Botti, Joan La Barbara, Rinde Eckert Meredith
Monk, Carol Plantamura, Candace Smith and Pamela Z. Hence, this
timely anthology marks an end to the long period of silence about
Cathy Berberian's championing of a radical rethinking of the
musical past through a reclaiming of the voice as a multifaceted
phenomenon. With a Foreword by Susan McClary.
This volume brings together important theoretical and
methodological issues currently being debated in the field of
history of education. The contributions shed insightful and
critical light on the historiography of education, on issues of
de-/colonization, on the historical development of the educational
sciences and on the potentiality attached to the use of new and
challenging source material.
Cathy Berberian (1925-1983) was a vocal performance artist, singer
and composer who pioneered a way of composing with the voice in the
musical worlds of Europe, North America and beyond. As a modernist
muse for many avant-garde composers, Cathy Berberian went on to
embody the principles of postmodern thinking in her work, through
vocality. She re-defined the limits of composition and challenged
theories of the authorship of the musical score. This volume
celebrates her unorthodox path through musical landscapes,
including her approach to performance practice, gender
performativity, vocal pedagogy and the culturally-determined
borders of art music, the concert stage, the popular LP and the
opera industry of her times. The collection features primary
documentation-some published in English for the first time-of
Berberian's engagement with the philosophy of voice, new music,
early music, pop, jazz, vocal experimentation and technology that
has come to influence the next generation of singers such as Theo
Bleckmann, Susan Botti, Joan La Barbara, Rinde Eckert Meredith
Monk, Carol Plantamura, Candace Smith and Pamela Z. Hence, this
timely anthology marks an end to the long period of silence about
Cathy Berberian's championing of a radical rethinking of the
musical past through a reclaiming of the voice as a multifaceted
phenomenon. With a Foreword by Susan McClary.
How can one write the history of disability, and what are the
consequences for the disabled themselves? This is the key question
that Pieter Verstraete addresses in this pioneering book that tries
to rethink the possible bonds between disability, history and
politics. Since the 1990's the concept of disability has gained in
prominence. Perhaps more than in other branches of historical
enquiry, disability historians have attributed a crucial place to
the notion 'identity'. Re-cently, however, the suitability of
identity for the realization of libera-ting and emancipatory
politics for people with disabilities has been questioned. This
book aims to incorporate some of the critical approaches towards
identity and to suggest a complementary connection between history
and political reform.
How does the act of performance speak to the concept of
commemoration? How and why does commemorative theatre operate as a
conceptual, historical and political site from which to interrogate
ideas of nationalism and nationhood? This volume explores how
theatre and performance create a stage for acts of commemoration,
considering crises of hate, nationalism and migration, as well as
political, racial and religious bigotry. It features case studies
drawn from across Europe, the Middle East, Asia, Africa and Latin
America. The book's four parts each explore commemoration through a
different theoretical lens and present a new set of dramaturgies
for research and study. While Section 1 offers a critical survey of
20th- and 21st-century discourses, Section 2 uncovers the
commemorative practices underpinning contemporary dramaturgy and
applies these practices to plays and performance pieces. These
include works by Martin Lynch, Frank McGuinness, Sanja Mitrovic,
Theater RAST, Les SlovaKs Dance Collective, Estela Golovchenko,
Wajdi Mouawad, Aine Stapleton, CoisCeim, ANU Productions, Aubrey
Sekhabi, and Indian and African dance practices. The final sections
investigate how individual and collective memory and performances
of commemoration can become tools for propaganda and political
agendas.
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