        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
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        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
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        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
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        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
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        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
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        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
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        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
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        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
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        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
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        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
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        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
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        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
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        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
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        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
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        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
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        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
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        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
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        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
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        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
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        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
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        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
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        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
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        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
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        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
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        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
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        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
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        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
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