Music For The Third Ear

Seeking asylum from distant conflict in Eastern Europe, Zheljka and Mesud are given refuge in Norway at the home of Hans Olav and Mette. Their arrival has profound consequences. Apparently settled into a childless middle age, Mette revisits her own unresolved family history in her frantic desire to establish a connection with Zheljka. All the while, Mesud and Zheljka try to reinvent their love for each other in the aftermath of a brutal war. Both families struggle to acknowledge the unspoken pain in their lives as Zheljka's child, unwanted but not unloved, becomes the focus of a drama in which each of them will share.

Provides a complete historic overview of the sounds of the entire English-speaking Caribbean region, bringing together informative essays on the development of a range of music styles and the industry's top performers. Original.

The author draws on his studies of cultures around the world to demonstrate how dominance of the ear as the primary sense organ for gathering and processing information is directly linked to compassion and peacefulness

Provides profiles of solo performers, bands, producers, and record labels from the alternative rock movement, ranging from the mid-1970s to the present, and includes discographies, album reviews, and photographs.

This engrossing studyinvestigates the connections between hearing and deafness in experimental, Deaf, and multicultural theater. Author Kanta Kochhar-Lindgren focuses on how to articulate a Deaf aesthetic and how to grasp the meaning of moments of "deafness" in theater works that do not simply reinscribe a hearing bias back into one's analysis. She employs a model using a device for cross-sensory listening across domains of sound, silence, and the moving body in performance that she calls the "third ear." Kochhar-Lindgren then charts a genealogy of the theater of the third ear from the mid-1800s to the 1960s in examples ranging from Denis Diderot, the Symbolists, the Dadaists, Antonin Artaud, and others. She also analyzes the work of playwright Robert Wilson, the National Theatre of the Deaf, and Asian American director Ping Chong. She shows how the model of the third ear can address not only deaf performance but also multicultural performance, by analyzing the Seattle dance troupe Ragamala's 2001 production of Transposed Heads, which melded classical South Indian use of mudras, or hand gestures, and ASL signing. The shift in attention limned in Hearing Difference leads to a different understanding of the body, intersubjectivity, communication, and cross-cultural relations, confirming it as a critically important contribution to contemporary Deaf studies.

This revised and expanded third edition includes new musical examples and dictations covering the entire continuum of musical development from classical to modern. It also includes definitive audio performances on CD of each of the 51 musical dictations, keyed by track number to the musical notation in the text.