Voice connects our embodied existence with the theoretical worlds we construct. This book argues that the voice is a crucial element of mortal identity in the tragedies of Aeschylus. It first presents conceptions of the voice in ancient Greek poetry and philosophy, understanding it in its most literal and physical form, as well as through the many metaphorical connotations that spring from it. Close readings then show how the tragedies and fragments of Aeschylus gain meaning from the rubric and performance of voice, concentrating particularly on the Oresteia. Sarah Nooter demonstrates how voice - as both a bottomless metaphor and performative agent of action - stands as the prevailing configuration through which Aeschylus' dramas should be heard. This highly original book will interest all those interested in classical literature as well as those concerned with material approaches to the interpretation of texts.

The Mortal Voice in the Tragedies of Aeschylus

https://onlinelibrary.wiley.com/doi/pdf/10.1111/cogs.12404

Incidental Learning of Melodic Structure of North Indian Music

Disquieting Conversations: Bach, Modernity, and God1

This article uses Zbikowski’s theory of ‘musical grammar’ to analyse Radiohead’s song ‘Paranoid Android’ from their 1997 album OK Computer. Invoking the close structural and compositional parallels...

https://journals.sagepub.com/doi/pdf/10.1177/0963947019827073

‘Please could you stop the noise’: The grammar of multimodal meaning-making in Radiohead’s "Paranoid Android"

This article draws on qualitative data from a study of young Muslims learning Qur’anic Arabic in the UK to reveal how they engage in sacred language practices that I choose to call ‘ultralingual’. Such practices inevitably foreground linguistic form and performance over meaning, at least in the referential sense. Observable in many faith contexts, the ability to acquire a certain proficiency in an invariably ancient sacred language and then participate, actively and passively, in a range of ritual acts is demonstrated by millions of children globally. Usually attending supplementary forms of education, such children learn to access the code of their respective faiths (e.g., Qur’anic Arabic for Muslims and Biblical Hebrew for Jews) through, usually, a traditional learning approach based initially on systematic instruction in sound-letter correspondences which eventually develops into secure decoding proficiency. An important characteristic of this language practice is the ambivalent role of referential meaning. Often, performers, whether in recitation or in the words uttered in prayers, have partial or no access to the meaning of the words they utter. This article calls this ‘ultralingualism’, a language phenomenon that occurs also in non-religious contexts such as vocal music and multilingual literacy mediation, but which is particularly apparent in faith practices which centre on an ancient text and its language. The young Muslims in this article, however, do not take part in meaningless activities. Much sacred language practice (and some co-sanctified language practice) happens ultralingually, that is, form is emphasised over referential meaning. Evidence in this article argues that such ultralingual practices are accompanied nevertheless by layers of meaning often unrelated to referential or lexical meaning.

To what extent are sacred language practices ultralingual? The experience of British Muslim children learning Qur’anic Arabic

https://www.jstor.org/stable/10.5406/ethnomusicology.56.1.0125

Music, Language, and What Falls in Between

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Music, Language, and What Falls in Between