item: #1 of 27 id: sss-14054 author: None title: sss-14054 date: None words: 10335 flesch: 61 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. keywords: act; aschenbach; audience; britten; death; dionysian; film; guitarist; laughing; laughter; leader; mann; motif; music; novella; opera; performance; press; rehearsal; scene; song; tadzio; venice; visconti; voice cache: sss-14054.htm plain text: sss-14054.txt item: #2 of 27 id: sss-14132 author: None title: sss-14132 date: None words: 11134 flesch: 55 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. keywords: 1930s; audiences; borsatti; che; cinema; cines; company; del; dialogue; dubbing; fascist; film; foreign; italian; italy; language; movies; music; national; new; non; original; pittaluga; process; production; quargnolo; roma; scene; sound; time; use cache: sss-14132.htm plain text: sss-14132.txt item: #3 of 27 id: sss-14186 author: Steigerwald Ille, Megan title: The Operatic Ear: Mediating Aurality date: 2021-04-13 words: 10739 flesch: 50 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. keywords: audience; aurality; cities; ear; experience; headphones; listening; music; opera; performance; press; sound; space; stage; station; university; voice; work cache: sss-14186.pdf plain text: sss-14186.txt item: #4 of 27 id: sss-14474 author: None title: sss-14474 date: None words: 9808 flesch: 48 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.” keywords: audio; cinema; cinerama; days; dolby; ears; experience; film; home; life; listening; malick; music; new; press; scenes; sound; stereo; surround; system; time; university; use cache: sss-14474.htm plain text: sss-14474.txt item: #5 of 27 id: sss-15335 author: Scherzinger, Martin title: Event or Ephemeron? Music’s Sound, Performance, and Media (A Critical Reflection on the Thought of Carolyn Abbate) date: 2021-04-13 words: 20996 flesch: 46 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. keywords: 2021/1; abbate; argument; context; drastic; essay; ethics; event; example; experience; fact; gnostic; gumbrecht; hand; kind; listening; music; musical; new; performance; point; presence; press; screen; sound; sound stage; stage; university; way; words cache: sss-15335.pdf plain text: sss-15335.txt item: #6 of 27 id: sss-15388 author: None title: sss-15388 date: None words: 7995 flesch: 50 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. keywords: auslander; book; experience; goffman; liveness; media; music; performance; persona; time; way; work cache: sss-15388.htm plain text: sss-15388.txt item: #7 of 27 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 words: 3605 flesch: 51 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. keywords: chinese; circuit; city; film; hsu; japanese; music; night; shih; song; southern; taipei; taiwan; taiwanese cache: sss-15389.pdf plain text: sss-15389.txt item: #8 of 27 id: sss-15390 author: Novak, Jelena title: Review of “Sweet Land,” a new opera by The Industry date: 2021-04-13 words: 3580 flesch: 54 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. keywords: american; history; industry; land; music; opera; screen; sharon; stage; voice cache: sss-15390.pdf plain text: sss-15390.txt item: #9 of 27 id: sss-15428 author: Biancorosso, Giorgio; Sala, Emilio title: Five Keywords and a Welcome date: 2021-04-13 words: 566 flesch: 50 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. keywords: music; sound cache: sss-15428.pdf plain text: sss-15428.txt item: #10 of 27 id: sss-15487 author: None title: sss-15487 date: None words: 10142 flesch: 53 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. keywords: affordances; amplification; close; grain; iannotta; instruments; intent; intimacy; megaphone; microphone; mouth; music; new; press; resurrection; sound; techniques; university; voice cache: sss-15487.htm plain text: sss-15487.txt item: #11 of 27 id: sss-15963 author: None title: sss-15963 date: None words: 11394 flesch: 43 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. keywords: apparatus; art; article; attention; attractions; ballet; cambridge; cinema; dance; example; experience; film; fuller; gunning; kind; marks; music; new; press; sacre; stravinsky; university; university press; work cache: sss-15963.htm plain text: sss-15963.txt item: #12 of 27 id: sss-16639 author: None title: sss-16639 date: None words: 20629 flesch: 58 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. keywords: art; artist; audience; blamey; consciousness; credit; diaspora; fox; hinde; hope; kazakura; kosugi; live; machines; materials; music; new; opera; performance; photo; point; practice; production; robin; saulwick; score; shō; sound; space; speechless; takehisa; theater; things; time; video; way; work cache: sss-16639.htm plain text: sss-16639.txt item: #13 of 27 id: sss-16640 author: None title: sss-16640 date: None words: 6189 flesch: 74 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. keywords: abramović; callas; deaths; kind; maria; music; opera; piece; stage; voice cache: sss-16640.htm plain text: sss-16640.txt item: #14 of 27 id: sss-16655 author: None title: sss-16655 date: None words: 3126 flesch: 43 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?) keywords: art; havelková; media; music; new; opera; press; rosa; stage cache: sss-16655.htm plain text: sss-16655.txt item: #15 of 27 id: sss-16656 author: None title: sss-16656 date: None words: 1772 flesch: 45 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). keywords: ireland; irish; screen; video; walshe; work cache: sss-16656.htm plain text: sss-16656.txt item: #16 of 27 id: sss-16657 author: Pizzo, Antonio; Rizzuti, Marida title: Review of Marina Abramović, “7 Deaths of Maria Callas” (2020) date: 2021-11-15 words: 2489 flesch: 54 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. keywords: abramović; arias; artist; callas; music; opera; screen; stage cache: sss-16657.pdf plain text: sss-16657.txt item: #17 of 27 id: sss-16776 author: None title: sss-16776 date: None words: 10018 flesch: 52 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: keywords: alberto; article; bells; caccia; cinema; culture; daniela; de santis; film; folk; folk music; music; peasants; people; santis; scene; sound; tragica; values; whistling cache: sss-16776.htm plain text: sss-16776.txt item: #18 of 27 id: sss-17410 author: None title: sss-17410 date: None words: 10429 flesch: 61 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: keywords: aladdin; boy; disney; eugene; gender; kristoff; light; love; male; masculinity; men; music; new; postfeminist; prince; quasimodo; romantic; singing; song; voice cache: sss-17410.htm plain text: sss-17410.txt item: #19 of 27 id: sss-18310 author: Cachopo, João Pedro title: Callas and the Hologram: A Live Concert with a Dead Diva date: 2022-08-01 words: 9922 flesch: 59 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. keywords: 2022/1; callas; concert; diva; fact; hologram; live; maria callas; new; opera; performance; screen; sound; sound stage; stage; stage screen; time; university; video cache: sss-18310.pdf plain text: sss-18310.txt item: #20 of 27 id: sss-18311 author: None title: sss-18311 date: None words: 3730 flesch: 54 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. keywords: chow; object; schaeffer; sound; steintrager; studies; theory; volume cache: sss-18311.htm plain text: sss-18311.txt item: #21 of 27 id: sss-18446 author: None title: sss-18446 date: None words: 3960 flesch: 58 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). keywords: clemenza; milo; mozart; music; opera; rau; real; stage; tito cache: sss-18446.htm plain text: sss-18446.txt item: #22 of 27 id: sss-18617 author: None title: sss-18617 date: None words: 9509 flesch: 49 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). keywords: audience; century; château; city; fandom; gortz; jules; jules verne; listening; music; new; novel; opera; paris; practices; recording; sound; stilla; technologies; verne; voice cache: sss-18617.htm plain text: sss-18617.txt item: #23 of 27 id: sss-18841 author: None title: sss-18841 date: None words: 8423 flesch: 49 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. keywords: avatar; body; der; der aa; music; opera; production; rehearsal; stage; studio; technology; time; university; upload; van; van der; virtual; williams cache: sss-18841.htm plain text: sss-18841.txt item: #24 of 27 id: sss-19972 author: None title: sss-19972 date: None words: 20927 flesch: 61 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. keywords: audience; benjamin; camera; director; experience; film; internet; lazar; les; live; music; new; opera; paris; performance; place; production; project; spectators; stage; theater; théâtre; time; ursule; video; way; web; web opera; work cache: sss-19972.htm plain text: sss-19972.txt item: #25 of 27 id: sss-19973 author: None title: sss-19973 date: None words: 3959 flesch: 62 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. keywords: book; daughter; father; film; opera; thunder; upload; van; water cache: sss-19973.htm plain text: sss-19973.txt item: #26 of 27 id: sss-19974 author: None title: sss-19974 date: None words: 4143 flesch: 39 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. keywords: author; century; chapter; culture; march; opera; operatic; space; vella cache: sss-19974.htm plain text: sss-19974.txt item: #27 of 27 id: sss-19975 author: None title: sss-19975 date: None words: 1866 flesch: 52 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. keywords: belgrade; children; national; opera; theatre cache: sss-19975.htm plain text: sss-19975.txt