# bib

id: sss-15428
author: Biancorosso, Giorgio; Sala, Emilio
title: Five Keywords and a Welcome
date: 2021-04-13
pages: 2
extension: .pdf
mime: application/pdf
words: 566
sentence: 26
flesch: 50
cache: cache/sss-15428.pdf
txt: txt/sss-15428.txt
summary:
  If this journal is to function as an open space for new practices, it goes without saying that we need to nurture critical perspectives but also encourage practical inter- ventions. Our project is borne out of a desire to embrace new branches of knowledge but also a concern over the viability of musicology as an academ- ic discipline.


id: sss-19975
title: sss-19975
extension: .htm
mime: text/html
words: 1866
sentence: 59
flesch: 52
cache: cache/sss-19975.htm
txt: txt/sss-19975.txt
summary:
  Children is an anti-opera that brings hope for the future of the genre in Belgrade and can be recommended to contemporary opera lovers all over the world. The composer, who is also the stage director, rethinks voice as a tool, in opera and on stage, by juxtaposing operatic and regular singing.


id: sss-16656
title: sss-16656
extension: .htm
mime: text/html
words: 1772
sentence: 55
flesch: 45
cache: cache/sss-16656.htm
txt: txt/sss-16656.txt
summary:
  After a disquisition on AI and datasets, particularly referencing John Hinde, an English photographer who specialized in nostalgic picture postcards of rural Ireland that aestheticized the reality of grinding poverty, we encounter North American tourists on their visit to the Fort of the Kings on the Hill of Tara, followed, after the AI-produced Les Baxter parody, by a “lecture on the picturesque,” which ranges from eighteenth-century landscape painting through nineteenth- and twentieth-century picture postcards to present-day tourist snaps on Instagram. The final number is, perhaps unexpectedly, genuinely moving, narrating a car trip around Ireland, which allows an apparently dying child to see real-world sites he or she only knows from films representing fantasy places, such as Westeros (from the TV series Game of Thrones, largely shot in Northern Ireland), Middle Earth (from the film series Lord of the Rings, shot mostly in New Zealand, although the Hobbits’ “Shire” seems to evoke a leprechaun colony) and the planet Ahch-To (from Star Wars: Episode VII – The Force Awakens, shot on Skellig Michael, off the southern coast of Ireland).


id: sss-16657
author: Pizzo, Antonio; Rizzuti, Marida
title: Review of Marina Abramović, “7 Deaths of Maria Callas” (2020)
date: 2021-11-15
pages: 5
extension: .pdf
mime: application/pdf
words: 2489
sentence: 90
flesch: 54
cache: cache/sss-16657.pdf
txt: txt/sss-16657.txt
summary:
  After a few minutes, the raising of the curtain reveals her apartment’s room; this time, the orchestra accompanies Abramović’s stage action: her recorded voice marks her awakening, the getting out of bed, the wander- ing around the room, until she leaves for the boudoir. SSS_1_2.indb reviews 7 Deaths of Maria Callas by Marina Abramović Antonio Pizzo – Marida Rizzuti If the event that Marina Abramović presented at the Bavarian State Opera in Munich were an opera piece, we could try to compare the different codes that the artist has put in place, including linguistic offshoots from areas normally less frequented by opera houses.


id: sss-16655
title: sss-16655
extension: .htm
mime: text/html
words: 3126
sentence: 120
flesch: 43
cache: cache/sss-16655.htm
txt: txt/sss-16655.txt
summary:
  How to overcome the deadlock of trite prejudices and tired preconceptions, while holding them as still essential for the interpretation of such a loaded cultural phenomenon? Understanding opera as a hypermedial object may prove to offer an all-encompassing analysis while at the same time provide a way out of such an impasse. Hypermedial opera?)


id: sss-15390
author: Novak, Jelena
title: Review of “Sweet Land,” a new opera by The Industry
date: 2021-04-13
pages: 9
extension: .pdf
mime: application/pdf
words: 3580
sentence: 144
flesch: 54
cache: cache/sss-15390.pdf
txt: txt/sss-15390.txt
summary:
  For the rest of us, experienc- ing Sweet Land only through the video, the division is not apparent, though it becomes clearer after reading the program booklet. In the trailer for Sweet Land Sharon announces the company’s turn to- wards the topic of Americanness: “The Industry has often taken the au- dience on diverging paths and telling different narratives simultaneously.


id: sss-15389
author: Chen, Timmy Chih-Ting
title: Review of Andrew F. Jones, “Circuit Listening: Chinese Popular Music in the Global 1960s” (2020)
date: 2021-04-13
pages: 9
extension: .pdf
mime: application/pdf
words: 3605
sentence: 104
flesch: 51
cache: cache/sss-15389.pdf
txt: txt/sss-15389.txt
summary:
  “Taiwan Melody” is a Mandarin cover of the first major hit of postwar Taiwan, a “folk” love song entitled “Night in a Southern City” / “Taiwan Melody” in Air Hostess (1959) is a Mandarin cover of the first major hit of postwar Taiwan, a “folk” love song entitled “Night in a Southern City” / “Night in the City of Tainan” 南都之夜 (1946) composed by Hsu Shih 許石.


id: sss-18311
title: sss-18311
extension: .htm
mime: text/html
words: 3730
sentence: 141
flesch: 54
cache: cache/sss-18311.htm
txt: txt/sss-18311.txt
summary:
  Though Fred Moten’s name nowhere appears in Sound Objects , it is worth recalling, for a consideration of the meaning and existence of sound theory, that his book—largely classified in African American studies, yet a major contribution to what is now sound studies—came out in the same year as Sterne’s The Audible Past (2003) (another now-canonical book in the field, though for very different reasons). Again, obliquely through a series of rhetorical moves, Rangan wants to lay claim to or make legible an alternative intellectual history of sound theory, one where Chow is to be found along with two contemporary female figures within African American studies and sound studies, Nina Sun Eidsheim and Jennifer Lynn Stoever.


id: sss-19973
title: sss-19973
extension: .htm
mime: text/html
words: 3959
sentence: 183
flesch: 62
cache: cache/sss-19973.htm
txt: txt/sss-19973.txt
summary:
  × Review contents Introduction On Transcendence Footnotes REVIEW ESSAY Identity, Loss, and Singing Transcendence after the End of the World Review-essay of the film opera Upload and the chamber music theater piece The Book of Water by Michel van der Aa. * Jelena Novak Sound Stage Screen, Vol. 2, Issue 2 (Fall 2022), pp. This is a brief plot summary of the film opera Upload, composed and directed by Michel van der Aa.


id: sss-18446
title: sss-18446
extension: .htm
mime: text/html
words: 3960
sentence: 169
flesch: 58
cache: cache/sss-18446.htm
txt: txt/sss-18446.txt
summary:
  [3] But opera and classical music are also much more, something which Milo Rau has no feeling for, and perhaps he doesn't even want to. Thus, the problem is not whether Milo Rau cares or not about opera or “classical music” (whatever that is).


id: sss-19974
title: sss-19974
extension: .htm
mime: text/html
words: 4143
sentence: 153
flesch: 39
cache: cache/sss-19974.htm
txt: txt/sss-19974.txt
summary:
  In the book’s introductory lines, the author positions her work within the field both by separating it from a series of methodological frameworks that have crystallized in the study of Italian opera and by setting forth its continuity with the new scholarly trends in opera studies. On the one hand, Vella’s intervention points to the long-standing culture of approaching Italian opera exclusively through the rigid wide-angle lens of national discourses—an approach that ultimately erased identity pluralism and flattened dynamics of urban exchange and mobility.


id: sss-16640
title: sss-16640
extension: .htm
mime: text/html
words: 6189
sentence: 318
flesch: 74
cache: cache/sss-16640.htm
txt: txt/sss-16640.txt
summary:
  In 7 Deaths of Maria Callas Abramović used operatic music by five historical composers of the Western canon: Giuseppe Verdi, Giacomo Puccini, Vincenzo Bellini, Gaetano Donizetti, and Georges Bizet. On the Singing Deaths of Maria Callas.


id: sss-15388
title: sss-15388
extension: .htm
mime: text/html
words: 7995
sentence: 324
flesch: 50
cache: cache/sss-15388.htm
txt: txt/sss-15388.txt
summary:
  For example, he does not understand music to be an “object” of performance, because he situates the concept of “musical performance” in a wider perspective. As you suggest in the introduction, my approach to terms like this is to interrogate the ways their relationships are traditionally configured, including the idea you also mention that sound is a means to musical performance, not its end.


id: sss-18841
title: sss-18841
extension: .htm
mime: text/html
words: 8423
sentence: 376
flesch: 49
cache: cache/sss-18841.htm
txt: txt/sss-18841.txt
summary:
  Does the inquiry about virtual bodies in rehearsal culminate in the avatar, or does it rather lead to a broader examination of how humans, through opera rehearsals, store data in (non)human forms as data carriers? Whereas typically the stage director and the conductor dominate the sound spatialities of opera rehearsals, here the relationship is shifted.


id: sss-18617
title: sss-18617
extension: .htm
mime: text/html
words: 9509
sentence: 386
flesch: 49
cache: cache/sss-18617.htm
txt: txt/sss-18617.txt
summary:
  [2]  See Edmund J. Smyth, “Verne, SF and Modernity: An Introduction,” in Jules Verne: Narratives of Modernity, ed. [12]  On this topic, see “Jules Verne et la musique,” special issue, Revue Jules Verne, no. 24 (2007).


id: sss-14474
title: sss-14474
extension: .htm
mime: text/html
words: 9808
sentence: 259
flesch: 48
cache: cache/sss-14474.htm
txt: txt/sss-14474.txt
summary:
  Upon first encountering such recorded bits we are of course likely to be put in mind of the real-life contexts in which such sounds might actually occur. [24] But in a sonic context the prefix circulated for the most part in the scientific community, and likely it was not until December 1952 that it entered the vernacular, when veteran broadcaster Lowell Thomas, speaking in the first-person plural, ended his introduction to This Is Cinerama’s post-intermission demonstration with the portentous words: “We call it stereophonic sound.”


id: sss-18310
author: Cachopo, João Pedro
title: Callas and the Hologram: A Live Concert with a Dead Diva
date: 2022-08-01
pages: 25
extension: .pdf
mime: application/pdf
words: 9922
sentence: 444
flesch: 59
cache: cache/sss-18310.pdf
txt: txt/sss-18310.txt
summary:
  8 Stephen Wadsworth quoted in David Salazar, “Bringing Maria Callas Back to Life,” Op- era Wire, June 16, 2018, https://operawire.com/bringing-maria-callas-back-to-life-the-team- behind-callas-in-concert-on-creating-a-hologram-of-la-divina/. 9 For a preview of the show, see “Callas in Concert: The Hologram Tour,” video trailer, uploaded on May 27, 2019, https://www.youtube.com/watch?v=3zoVzGOA_84. It is because Callas in Concert responds to a double fascina- tion—with Maria Callas, certainly, but then also, not less important, with liveness and all the characteristics it entails—that the show has also been so popular.


id: sss-17410
title: sss-17410
extension: .htm
mime: text/html
words: 10429
sentence: 443
flesch: 61
cache: cache/sss-17410.htm
txt: txt/sss-17410.txt
summary:
  [26] To illustrate this finding, he offers two models of Disney masculinity: the first is based on the categories established by Davis, the second includes his newly formed category of postfeminist Disney men. In his revised model of Disney masculinity, Macaluso places Aladdin between the categories “boy” and “hero/prince” and this categorization is visible in the production process:


id: sss-14186
author: Steigerwald Ille, Megan
title: The Operatic Ear: Mediating Aurality
date: 2021-04-13
pages: 25
extension: .pdf
mime: application/pdf
words: 10739
sentence: 501
flesch: 50
cache: cache/sss-14186.pdf
txt: txt/sss-14186.txt
summary:
  The Operatic Ear in the Headphones: Performing Audile Technique Audience members of Invisible Cities relied on specific sociocultural notions of listening—a multiplicity of operatic ears—to synthesize components of aural and visual alike within the work. Rather, operatic ears are situat- ed in networks of technologies, material practices, sounds, and patterns of listening.


id: sss-16776
title: sss-16776
extension: .htm
mime: text/html
words: 10018
sentence: 391
flesch: 52
cache: cache/sss-16776.htm
txt: txt/sss-16776.txt
summary:
  Admittedly, short-circuits in this discursive divide are quite exceptional in De Santis, but such exceptions are of particular interest, not least because they highlight ongoing tensions in Italian society that cannot be addressed by black-and-white narratives that enshrine folk music as an antidote to capitalist culture. Article contents Folk Music in De Santis’s Caccia tragica The Power of the Peasants’ Soundscape: Whistles and Bells Sounds on Paper:


id: sss-15487
title: sss-15487
extension: .htm
mime: text/html
words: 10142
sentence: 432
flesch: 53
cache: cache/sss-15487.htm
txt: txt/sss-15487.txt
summary:
  [1] Small sounds can reveal themselves in a broad palette of textures: rub a fingernail on the pad of your thumb, close to the ear, and the sound will transform into something “crisper.” In the epigraph above, the Irish poet Dorothy Molloy envisions yet another world of small sounds deep underground.


id: sss-14054
title: sss-14054
extension: .htm
mime: text/html
words: 10335
sentence: 498
flesch: 61
cache: cache/sss-14054.htm
txt: txt/sss-14054.txt
summary:
  See, for example, Philip Reed, “Aschenbach Becomes Mahler: Thomas Mann as Film,” in Benjamin Britten: “Death in Venice,” ed. Britten, Death in Venice, “Laughing Song,” beginning.


id: sss-14132
title: sss-14132
extension: .htm
mime: text/html
words: 11134
sentence: 476
flesch: 55
cache: cache/sss-14132.htm
txt: txt/sss-14132.txt
summary:
  [7] This latter contribution traces the cultural trajectories of dubbing from its establishment under the Fascist government to its artistic legacy as a postproduction technique used in Italian films of the postwar period. As previously mentioned, film dubbing by Cines-Pittaluga began around the spring of 1932, but it is likely that some practices such as the sonorizzazioni continued for a while.


id: sss-15963
title: sss-15963
extension: .htm
mime: text/html
words: 11394
sentence: 414
flesch: 43
cache: cache/sss-15963.htm
txt: txt/sss-15963.txt
summary:
  [11] From the wealth of recent interdisciplinary studies of attention, I have found the following most inspiring: Richard Adelman, Idleness and Aesthetic Consciousness, 1815–1900 (Cambridge: Cambridge University Press, 2018); Eve Tavor Bannet, Eighteenth-Century Manners of Reading: Print Culture and Popular Instruction in the Anglophone Atlantic World (Cambridge: Cambridge University Press, 2017); Thomas H. Davenport and John C. Beck, The Attention Economy: Understanding the New Currency of Business (Boston: Harvard Business School Press, 2001); Lily Gurton-Wachter, Watchwords: Romanticism and the Poetics of Attention (Stanford: Stanford University Press, 2016); and Tim Wu, The Attention Merchants: The Epic Scramble to Get Inside Our Heads (New York: Alfred A. Knopf, 2016). Joshua S. Walden (Cambridge: Cambridge University Press, 2013), 144–64.


id: sss-19972
title: sss-19972
extension: .htm
mime: text/html
words: 20927
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flesch: 61
cache: cache/sss-19972.htm
txt: txt/sss-19972.txt
summary:
  Now, I use the Internet in my professional engagements as opera stage director every day—be it to do the research, to connect with collaborators, or as a tool in the process of making a new opera. However, even though its presence is constantly challenged and reexamined, after its COVID-19-related explosion in relevance new tendencies (such as web operas) are now seen in a different light.


id: sss-16639
title: sss-16639
extension: .htm
mime: text/html
words: 20629
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flesch: 58
cache: cache/sss-16639.htm
txt: txt/sss-16639.txt
summary:
  Tamara Saulwick, the co-director, dramaturg, and current artistic director of Chamber Made, makes performance works that are inextricably entwined with sound and sound technologies. The practices of material sound performance explored above are not simply musicalizing the sonic consequences of material interactions but are attempting to engage more fully with the cultural contexts this material sounding implies and activates.


id: sss-15335
author: Scherzinger, Martin
date: 2021-04-13
pages: 48
extension: .pdf
mime: application/pdf
words: 20996
sentence: 844
flesch: 46
cache: cache/sss-15335.pdf
txt: txt/sss-15335.txt
title:
  Event or Ephemeron? Music’s Sound, Performance, and Media (A Critical Reflection on the Thought of Carolyn Abbate)

summary:
  In short, has the elephant in the room—music qua music— become the white elephant once more? This leads to a second, more important, point concerning the role of technology in drastic musical experience.


# url

id: sss-18310
domain: operawire.com
url:
  https://operawire.com/bringing-maria-callas-back-to-life-the-teambehind-callas-in-concert-on-creating-a-hologram-of-la-divina/


id: sss-14186
domain: www.broadwayworld.com
url:
  https://www.broadwayworld.com/los-angeles/article/bww-reviews-invisible-cities-offers-a-total-immersion-experience-at-union-station-20131025


id: sss-14186
domain: www.broadwayworld.com
url:
  http://www.broadwayworld.com/los-angeles/article/bww-reviews-invisible-cities-offers-a-total-immersion-experience-at-union-station-20131025


id: sss-14186
domain: hyperallergic.com
url:
  https://hyperallergic.com/92262/the-public-spectacle-ofa-personal-opera-in-los-angeles-union-station/


id: sss-14186
domain: www.kcrw.com
url:
  https://www.kcrw.com/culture/articles/the-drama-of-humanity-unfolds-in-union-station-2014-oh-and-an-opera-too


# ent

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  http://www.pulitzer.org/finalists/christopher-cerrone http://www.pulitzer.org/finalists/christopher-cerrone 123steigerwald ille sound stage


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  http://www.whitesnakeprojects.org/projects/alice-in-the-pandemic-a-digital-opera/ http://www.whitesnakeprojects.org/projects/alice-in-the-pandemic-a-digital-opera/


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  https://operawire.com/bringing-maria-callas-back-to-life-the-teambehind-callas-in-concert-on-creating-a-hologram-of-la-divina/.

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