Our species has been making music most likely for as long as we've been human. It seems to be an indelible a part of us. The oldest known musical instruments date back to the upper paleolithic period, some 40,000 years ago. Among the most intriguing of these are delicate bone flutes, seen in Figure 1.1, found in what is now southern Germany. (Conard et al. 2009). These discoveries testify to the advanced technology that our ancestors applied to create music: the finger holes are carefully bevelled to allow the musician's fingers to make a tight seal; and the distances between the holes appear to have been precisely measured, perhaps to correspond to a specific musical scale. This time period corresponds to the last glaciation episode in the northern hemisphere -- life could not have been easy for people living at that time. Yet time, energy, and the skills of craftworkers were expended for making abstract sounds "of the least use ... to daily habits of life". So, music must have been very meaningful and important for them. Why would that be?"--
Our species has been making music most likely for as long as we've been human. It seems to be an indelible a part of us. The oldest known musical instruments date back to the upper paleolithic period, some 40,000 years ago. Among the most intriguing of these are delicate bone flutes, seen in Figure 1.1, found in what is now southern Germany. (Conard et al. 2009). These discoveries testify to the advanced technology that our ancestors applied to create music: the finger holes are carefully bevelled to allow the musician's fingers to make a tight seal; and the distances between the holes appear to have been precisely measured, perhaps to correspond to a specific musical scale. This time period corresponds to the last glaciation episode in the northern hemisphere -- life could not have been easy for people living at that time. Yet time, energy, and the skills of craftworkers were expended for making abstract sounds "of the least use ... to daily habits of life". So, music must have been very meaningful and important for them. Why would that be?"--
What is the relationship between the Hebrew Bible and modern science? To answer this question, Robert Goldman invites the reader on a carefully guided intellectual journey spanning centuries of theological, philosophical, and scientific thought, before arriving at his provocative conclusion. He begins with the Hebrew Bible, examining the ancient concepts of “Olam” and “Yahweh,” whose meanings are often lost in translation. Using these concepts as a lens, he explores Spinoza’s “heretical” (at the time) theological views, probes Einstein’s theory of space-time, and confronts formidable questions about human capacity for evil through the writings of Elie Wiesel and Etty Hillesum. Using simple, accessible language, Goldman ties together these diverse perspectives—as well as those of Plato, Maimonides, Godel, and others—and interweaves them with his own insights. Ultimately, he crafts a hopeful vision of a humankind and a God who are evolving toward one another, fueled by good actions, broader consciousness, and deeper human connection.
Robert Hatten's new book is a worthy successor to his Musical Meaning in Beethoven, which established him as a front-rank scholar . . . in questions of musical meaning. . . . [B]oth how he approaches musical works and what he says about them are timely and to the point. Musical scholars in both musicology and theory will find much of value here, and will find their notions of musical meaning challenged and expanded." —Patrick McCreless This book continues to develop the semiotic theory of musical meaning presented in Robert S. Hatten's first book, Musical Meaning in Beethoven (IUP, 1994). In addition to expanding theories of markedness, topics, and tropes, Hatten offers a fresh contribution to the understanding of musical gestures, as grounded in biological, psychological, cultural, and music-stylistic competencies. By focusing on gestures, topics, tropes, and their interaction in the music of Mozart, Beethoven, and Schubert, Hatten demonstrates the power and elegance of synthetic structures and emergent meanings within a changing Viennese Classical style. Musical Meaning and Interpretation—Robert S. Hatten, editor
Voice Science, Second Edition was designed to provide speech-language pathologists and other members of the voice team with a thorough grounding in the anatomical, physiological, and mechanical aspects of voice production, as well as an introduction to cutting-edge research in voice science. This book is a valuable asset for teachers and students in communication sciences, as well as otolaryngologists, speech-language pathologists, singing and voice teachers, and professional voice users. An explosion of new knowledge has occurred in our time in the field of voice. The voice is one of our most critical communication tools. Therefore, voice disorders have a large impact on daily life for a great number of people. The interdisciplinary expertise of numerous authors has been invaluable in the preparation of this text. The book opens with introductory information about the physics of sound, and it goes on to discuss the anatomy and physiology of the voice, including neuroanatomy and the mechanics of vocal fold aging. It ends with chapters on voice care, exercise physiology, and forensic voice care. New to this edition: New chapters on topics such as laryngeal development and on exercise physiology, which is critical to understanding voice training and rehabilitation.Substantial additions to chapters on medical genetic issues, clinical anatomy and physiology, and processing of musical information.References have been updated throughout to reflect the current literature.A selection of new authors who provide an interdisciplinary approach.Many chapters have been rewritten extensively to include the most recent information. Voice Science, Second Edition is ideal for speech-language pathology students and clinicians and is suitable for classroom use as well as for reference.
In his third volume on musical expressive meaning, Robert S. Hatten examines virtual agency in music from the perspectives of movement, gesture, embodiment, topics, tropes, emotion, narrativity, and performance. Distinguished from the actual agency of composers and performers, whose intentional actions either create music as notated or manifest music as significant sound, virtual agency is inferred from the implied actions of those sounds, as they move and reveal tendencies within music-stylistic contexts. From our most basic attributions of sources for perceived energies in music, to the highest realm of our engagement with musical subjectivity, Hatten explains how virtual agents arose as distinct from actual ones, how unspecified actants can take on characteristics of (virtual) human agents, and how virtual agents assume various actorial roles. Along the way, Hatten demonstrates some of the musical means by which composers and performers from different historical eras have staged and projected various levels of virtual agency, engaging listeners imaginatively and interactively within the expressive realms of their virtual and fictional musical worlds.
Now in one convenient volume, Vocal Health and Pedagogy: Science, Assessment, and Treatment, Third Edition answers every question you've ever had about the voice, from the physics of sounds, to vocal technique, to medications, to performance anxiety. It presents anatomical, physiological, and neurological considerations, as well as covers critical issues related to patient history, laryngeal function, the physical examination, and historical perspectives of vocal pedagogy. The first part of the book introduces basic concepts of voice science, assessment, and training. It focuses on the science behind the common problems that afflict voice users and enables understanding of the medical approach to problem analysis. The second part of the book contains additional information on the specific health and performance conditions that affect the voice and their assessment and treatment. It considers the medical and nonmedical issues affecting the human voice, including diagnosis and treatment of voice problems, the effects of physical injury, posture, pollutants and irritants, psychological effects, voice therapy, medication, and more. New to this edition: New chapters on topics such as pedagogy for children, the importance of studying music, laryngeal issues involving wind instrument performance, high-speed digital imaging, the evolution of technology, pediatric voice disorders, thyroid disorders, the vocal effects of birth control medications, and autoimmune disorders.Many chapters have been extensively revised to update previous content and add new information on material such as choral pedagogy for geriatric singers, World Trade Center syndrome, and laryngeal effects of asbestos exposure.Chapters on medications for performers have been revised to delete medications no longer used frequently and to add various medications and drug classes that were not included previously, as well as information on alternative and complementary medicines.References have been updated throughout to include discussion of new studies and a review of the latest literature, while also retaining the classic literature.Includes the most recent practices and techniques, the latest information on surgical and adjunctive therapy, and important changes in criteria and strategy. Vocal Health and Pedagogy: Science, Assessment, and Treatment, Third Edition is ideal for courses in vocal pedagogy and speech-language pathology. Additionally, it is a valuable resource for professional and amateur performers and their teachers.
The most comprehensive reference on voice care and science ever published! Substantially revised and updated since the previous edition published in 2005, Professional Voice: The Science and Art of Clinical Care, Fourth Edition provides the latest advances in the field of voice care and science. In three volumes, it covers basic science, clinical assessment, nonsurgical treatments, and surgical management. Twenty new chapters have been added. These include an in-depth chapter on pediatric voice disorders, chapters detailing how hormonal contraception, autoimmune disorders, and thyroid disorders affect the voice, as well as chapters on the evolution of technology in the voice care field, and advances in imaging of the voice production system. The appendices also have been updated. They include a summary of the phonetic alphabet in five languages, clinical history and examination forms, a special history form translated into 15 languages, sample reports from a clinical voice evaluation, voice therapy exercise lists, and others. The multidisciplinary glossary remains an invaluable resource. Key Features With contributions from a Who's Who of voice across multiple disciplines120 chapters covering all aspects of voice science and clinical careFeatures case examples plus practical appendices including multi-lingual forms and sample reports and exercise listsComprehensive indexMultidisciplinary glossary What's New Available in print or electronic format20 new chaptersExtensively revised and reorganized chaptersMany more color photographs, illustrations, and case examplesFully updated comprehensive glossaryMajor revisions with extensive new information and illustrations, especially on voice surgery, reflux, and structural abnormalities New Chapters 1. Formation of the Larynx: From Hox Genes to Critical Periods 2. High-Speed Digital Imaging 3. Evolution of Technology 4. Magnetic Resonance Imaging of the Voice Production System 5. Pediatric Voice Disorders 6. The Vocal Effects of Thyroid Disorders and Their Treatment 7. The Effects of Hormonal Contraception on the Voice 8. Cough and the Unified Airway 9. Autoimmune Disorders 10. Respiratory Behaviors and Vocal Tract Issues in Wind Instrumentalists 11. Amateur and Professional Child Singers: Pedagogy and Related Issues 12. Safety of Laryngology Procedures Commonly Performed in the Office 13. The Professional Voice Practice 14. Medical-Legal Implications of Professional Voice Care 15. The Physician as Expert Witness 16. Laryngeal Neurophysiology 17. The Academic Practice of Medicine 18. Teamwork 19. Medical Evaluation Prior to Voice Lessons 20. Why Study Music? Intended Audiences Individuals While written primarily for physicians and surgeons, this comprehensive work is also designed to be used by (and written in language accessible to) speech-language pathologists, singing voice specialists, acting voice specialists, voice teachers, voice/singing performers, nurses, nurse practitioners, physician assistants, and others involved in the care and maintenance of the human voice. Libraries It is a must-have reference for medical and academic libraries at institutions with otolaryngology, speech-language pathology, music, nursing and other programs related to the human voice.
In this book, D. Robert Ladd focuses on problems with the one-dimensional idealization of language on which much linguistic theory is based. Strings of sequentially-ordered elements play an important role as theoretical abstractions in both phonology and syntax. Yet many well-known phonological phenomena (such as vowel harmony, ablaut morphology, and pitch features) are problematic for this one-dimensional idealization, and many attempts (such as autosegmental phonology) have been made to allow for these troublesome characteristics in our theories. The book deals with diverse aspects of these problematical non-sequential phenomena. The five main chapters cover distinctive features and autosegments, systematic phonetics, the definition of 'prosody', aspects of vocal paralinguistic communication and 'gradience', and duality of patterning. Each chapter reviews a wide range of relevant literature, generally going back to the beginnings of modern linguistics in the early twentieth century, and all of them can usefully be read as free-standing synthetic overviews of the issues they discuss. The final chapter suggests that phonological structure, sequential or otherwise, can be seen as a special case of the segmentation of continuous action into discrete events, and that research on this general topic within cognitive psychology is relevant to phonological theory. Professor Ladd's unique work makes a fundamental contribution to phonology and phonetics and to linguistic theory more generally. His book will interest all theoretical linguists and cognitive scientists concerned with understanding the relation between phonological representations and the speech signal.
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