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73369 results in Open Access

Page 23 of 3669

  • Ode to Gravity (1970–1995): Music, Experimentation, and Sound Sensitivity

  • Michael Palmese
  • Journal:
    Twentieth-Century Music , FirstView
    Published online by Cambridge University Press:
    30 July 2025, pp. 1-34
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  • Only months after starting as KPFA’s music director, Charles Amirkhanian launched the radio show Ode to Gravity in March 1970. The evocative name referred to his 1968 experimental theatre piece that involved dropping objects such as a marble and car fender into a circle of spectators. The radio programme similarly released a range of avant-garde music and sound objects over the airwaves, reflecting Amirkhanian’s preferred title as KPFA’s ‘Sound Sensitivity Information Director’. Informed by analyses of archival broadcasts and other primary sources, this article frames Ode to Gravity as a conceptual extension of the 1968 piece and long-running ‘sound sensitivity’ experiment that sought to make sense of the contemporary musical landscape by collecting and propagating sonic data. Ode to Gravity’s consciousness-raising mission broadly, and the changes in content and presentation style over its twenty-five-year history specifically, add further texture to our understanding of post-war avant-garde impulses in music and sound.

  • ‘Ali Ben Sou Alle’ and the Saxophone in Australia, 1852–55

  • Ross Chapman
  • Journal:
    Nineteenth-Century Music Review , First View
    Published online by Cambridge University Press:
    30 July 2025, pp. 1-23
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  • Although Adolphe Sax’s serpentine invention hailed from Belgium, and then France, saxophones today are widely perceived as symbols of United States-led popular modernity. This image’s strength occludes a largely unknown antipodean precursor: the instrument debuted in British colonial Australia before being first heard across the Atlantic. This article foregrounds the goldrush-era Australian introduction of an instrument otherwise known as a ‘turkophone’, by enigmatic French musician Charles Jean-Baptiste Soualle, known in his orientalist stage persona as ‘Ali Ben Sou Alle’, from December 1852 to July 1855.

    This article establishes the European origins of Soualle’s act and examines its effusive Australian reception through a historical musicology lens, before discussing the cultural dynamics key to this episode’s geographic context. While a Saidian, Orientalism-inspired critique sheds some light on the appeal of ‘Ali Ben Sou Alle’ to Australian audiences, Soualle’s local success was perhaps most notably underwritten by geopolitical events. For example, the 1853 outbreak of the Crimean War, which pitted the allied imperial French, British, and Ottoman powers against Tsarist Russia, challenged a nascent Australia’s sense of itself and place in the world, and provided Soualle an opportune, sympathetic platform from which to compose and perform. Remarkably, given characterizations the instrument signified in the Jazz Age decades hence, Soualle’s saxophone also embodied notions of freedom for its mid-nineteenth-century Australian audiences.

    This episode, and its thematic resonances, offers insights into histories of touring musicians, understandings of music and coloniality, musical globalism, and the saxophone’s symbolic malleability prior to its rise to worldwide prominence.

  • A sound change that never was: h-loss and vowel lengthening in Old English

  • Nelson Goering
  • Journal:
    English Language & Linguistics , First View
    Published online by Cambridge University Press:
    30 July 2025, pp. 1-21
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  • In the 1880s, Sievers proposed that in Old English words such as *feorhes, the loss of the post-consonantal *h caused compensatory lengthening of the vowel: fēores. Since there are no unambiguous traces of this sound change in later English, widespread analogical restitution of the short vowels was assumed (e.g. from feorh). The evidence for this lengthening is largely metrical. I argue that while Sievers is correct that words like <feores> often need to scan with a heavy initial syllable, this need not be explained by a general lengthening in the language at large. Indeed, the distribution of where heavy scansions are required in verse is typical for metrical archaisms: late prehistoric metrical values of words preserved for poetic convenience. Just as wundor ‘marvel’ can continue to be scanned as monosyllabic *wundr, or contracted hēan can scan as disyllabic *hēahan, so can light-syllabled feores continue to scan as heavy *feorhes. The same sets of poems that prefer non-epenthesized or non-contracted forms also prefer the heavy scansions of feores-type words. If heavy scansions of feores-words are seen as a matter of poetic convention, then the hypothesis of compensatory lengthening in the language generally is left without evidence and should be rejected.

Page 23 of 3669