Готові списки джерел за темами / Monologue the music

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  1. Статті в журналах
  2. Дисертації
  3. Книги
  4. Частини книг
  5. Тези доповідей конференцій

Добірка наукової літератури з теми "Monologue the music"

Автор: Grafiati
Опубліковано: 23 травня 2025

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Статті в журналах з теми "Monologue the music"

1

Stevens, Blake. "Monologue Conflicts: The Terms of Operatic Criticism in Pierre Estève and Jean-Jacques Rousseau." Journal of Musicology 29, no. 1 (January 1, 2012): 1–43. http://dx.doi.org/10.1525/jm.2012.29.1.1.

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Jean-Jacques Rousseau's entry for “monologue” in his Dictionnaire de musique (1767) marks the first appearance of the term in French musical lexicography. This definition, which would exert an influence on later discussion of the form, synthesizes principles drawn from poetics and dramaturgy with stylistic arguments developed during the Querelle des Bouffons. The entry powerfully and succinctly conveys an Italianate conception of the form by promoting an idiom (récitatif obligé) associated with Italian practice as the exemplary realization of monologic discourse. This essay places Rousseau's account in the context of French criticism from Le Cerf de la Viéville, writing early in the eigtheenth century, to Pierre Estève, writing in the early 1750s. Treatment of the monologue at mid-century attests not only to a critical interest in exemplary scenes, particularly the famous monologue from Armide, “Enfin il est en ma puissance,” but also to readings of monologues as markers of national musical style. Against Rousseau's identification of monologue with récitatif obligé stands the more pluralistic model of Estève, who described a range of vocal idioms linked to dramatic context and meaning. Moreover, Estève attempted to account not only for newer works of Rameau but also for revivals of the tragédies en musique of Lully and Campra. Consideration of Estève's examples of characteristic scenes illustrates a tendency to equate monologic discourse with effects of interruption and the suspension of dialogue, even when other characters are present onstage.
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2

Haltrin-Khalturina, Elena. "Revisiting the Brownings’ Poetry in the Pages of Neo-Victorian Novels and their Russian Translations." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 82, no. 5 (2023): 78. http://dx.doi.org/10.31857/s160578800028329-7.

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Анотація:
The neo-Victorian novels of our time (by A.S. Byatt, Maggie Power, Laura Fish, et.al) reverberate with echoes from English poetry of the 19th century, and not in the least, from famous dramatic monologues (the genre, which came into existence thanks to Robert Browning and Alfred Tennyson). According to the present-day scholarship, the term "dramatic monologue" denotes the versified speech of a character, who suffers from a mental disorder and tries to combine the frankness of confession with the art of argument and seduction. This monologue is usually addressed to another character – a silent interlocutor, in front of whom the speaker, in a burst of eloquence, reveals the unsightly sides of his perverted doings or his character. In Victorian England, dramatic monologues featured the same marginal characters, which figured in sensation fiction. The article dwells on the ways dramatic monologues are employed in “Possession” (1990) by A.S. Byatt and “Strange Music” (2008) by Laura Fish. The writers not only include extensive quotes from R. Browning and E. Barret-Browning, but also create their own variations of dramatic monologues in verse and prose. Of particular interest are Victorian and neo-Victorian artistic approaches to the criteria of ‘normality’, to the rhetoric of justification, to the methods of argumentation.
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3

Huebner, Steven. "Édouard Dujardin, Wagner, and the Origins of Stream of Consciousness Writing." 19th-Century Music 37, no. 1 (2013): 56–88. http://dx.doi.org/10.1525/ncm.2013.37.1.56.

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Abstract Édouard Dujardin's novel Les Lauriers sont coupés (1887) has long been acknowledged as an important influence on the stream of consciousness style (called monologue intérieur by Dujardin) found in James Joyce's Ulysses. Dujardin wrote the book during the period he edited the short-lived Revue wagnérienne. The study shows how monologue intérieur was connected to experimental literary trends debated on the pages of the Revue as well as in the Symbolist movement more generally. Two of these trends were vers libre and the construct of an interiorized mental theater, and both were grounded in particular perceptions of Wagnerian opera. Dujardin and his Symbolist colleagues appreciated Wagner's move to abstraction, but thought he had not gone far enough. The article illustrates how putative syntactical freedoms in Wagner's work encouraged vers libre, how a song cycle Dujardin composed to his own vers libre tested the boundaries between literature and music against a Wagnerian backcloth, and how a “paraphrase” of the Amfortas monologue in the first act of Parsifal published in the Revue produced a theater of the mind. The invention of monologue intérieur emerges as a rich and multivalent point of intersection between Wagnerian opera and modernity.
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4

Huebner, Steven. "Édouard Dujardin, Wagner, and the Origins of Stream of Consciousness Writing." 19th-Century Music 37, no. 1 (2013): 56–88. http://dx.doi.org/10.1525/ncm.2013.37.3.56.

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Анотація:
Abstract Édouard Dujardin's novel Les Lauriers sont coupés (1887) has long been acknowledged as an important influence on the stream of consciousness style (called monologue intérieur by Dujardin) found in James Joyce's Ulysses. Dujardin wrote the book during the period he edited the short-lived Revue wagnérienne. The study shows how monologue intérieur was connected to experimental literary trends debated on the pages of the Revue as well as in the Symbolist movement more generally. Two of these trends were vers libre and the construct of an interiorized mental theater, and both were grounded in particular perceptions of Wagnerian opera. Dujardin and his Symbolist colleagues appreciated Wagner's move to abstraction, but thought he had not gone far enough. The article illustrates how putative syntactical freedoms in Wagner's work encouraged vers libre, how a song cycle Dujardin composed to his own vers libre tested the boundaries between literature and music against a Wagnerian backcloth, and how a “paraphrase” of the Amfortas monologue in the first act of Parsifal published in the Revue produced a theater of the mind. The invention of monologue intérieur emerges as a rich and multivalent point of intersection between Wagnerian opera and modernity.
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5

Salah, Trish. "What’s All the Yap? Reading Mirha-Soleil Ross’s Performance of Activist Pedagogy." Canadian Theatre Review 130 (March 2007): 64–71. http://dx.doi.org/10.3138/ctr.130.011.

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Mirha-Soleil Ross is not the most well known transsexual artist out there, but she is certainly one of the hardest working. A Toronto-based performance artist, film- and video-maker and activist on a wide range of issues, Ross is also the chief architect of Counting Past 2, the first festival of transsexual and transgender art and performance in North America.1 In this paper, I look at Ross’s most ambitious and professionally successful performance work to date, Yapping Out Loud: Contagious Thoughts of an Unrepentant Whore, a sequence of performance monologues in which Ross brings together her concerns with sex-worker, animal and transsexual rights and reflects upon her fifteen years as a prostitute and activist.2 Straddling the genres of spoken word, dramatic monologue and multi-media performance, Yapping Out Loud utilized video footage of coyotes living in the wild and being hunted, live music and voice recordings by prostitute- and animal-rights activists to create multiple, shifting frames for Ross’s monologue in seven acts.
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6

Fosse, Jon. "How It Was: Monologue." PAJ: A Journal of Performance and Art 45, no. 3 (September 1, 2023): 80–112. http://dx.doi.org/10.1162/pajj_a_00686.

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7

Marks, Kent. "The Interior Monologue in Earl Kim's Violin Concerto." Perspectives of New Music 34, no. 2 (1996): 106. http://dx.doi.org/10.2307/833473.

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8

Juned, Sulaiman. "Penciptaan Teater “Hikayat Cantoi”: Adaptasi dari Konsep Teater Tutur Aceh Adnan PM TOH." Dance and Theatre Review 3, no. 1 (October 19, 2020): 26. http://dx.doi.org/10.24821/dtr.v3i1.4412.

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AbstractCreating the monologue theater is based on Teater Tutur Aceh, PM TOH. The author did not start from the saga script but wrote a monologue script entitled “Hikayat Cantoi” and was performed in Indonesian. The show combined the modern convention, especially in movement and blocking of actors on stage, setting (decoration), props, make-up, and clothing by using the wealth of the body as music (body percussion music), such as: pat the chest, thighs, stomach, and fingertips in the Seudati, Didong, and Guel dance. This work presents a character who has historical and psychological complexities. Cantoi, an Acehnese man who works as a teacher, is forced by the situation to become “Pak Turut” to save his soul. The author chose this imaginary character because in Aceh, the term for someone who is smart but looks stupid, and is called Cantoi. Between 1996-2003, Acehnese society experienced a cultural shift or change. It happens because of social interaction through the pressures that are experienced at any time. Changes in social behavior lead to the birth of ideology and the restructuring of people’s behavior.Keywords: creative process; monologue; speech theater; Adnan PM TOH; Acehnese locality
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9

Gaunce, Julia. "The End of the Moon: Reports from Elsewhere." Canadian Theatre Review 124 (September 2005): 90–91. http://dx.doi.org/10.3138/ctr.124.018.

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Анотація:
Part meditation, part entertainment and part symphony (of monologue, music and images), Laurie Anderson’s solo work The End of the Moon hinges on two keys: her recent tenure as NASA’s artist-in-residence and the question, “Who taught you what beauty is?”
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10

Suryandoko, Welly. "Bandura's Social Cognitive Theory and Its Implementation in Markeso Mudo's Garingan Ludrukan Monologue." Gondang: Jurnal Seni dan Budaya 7, no. 1 (June 17, 2023): 182. http://dx.doi.org/10.24114/gondang.v7i1.48188.

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This paper aims to create works of art with Bandura's social cognitive theory approach consisting of a) Attention (attention), b) Retention, c) Motion Reproduction and d) Motivation as a foundation in the creative process of art learning in monologue courses in the Drama Concentration, Drama, Dance and Music Education Study Program (Sendratasik) Faculty of Language and Arts, Surabaya State University. This lecture is a type of practice with a total of 4 credits, students are directed to practice directly through various methods, strategies and competency content contained in the course. The focus in the current discussion is to practice the Monologue Ludrukan Garingan Markeso Mudo is a competency achievement that will be obtained by students if the stages can be carried out according to the procedure. The implementation of the Ludrukan Garingan Markeso Mudo Monologue is simulated in public spaces targeting crowded places such as markets, stalls or other public spaces that are in accordance with the needs of the actor's concept. The application of Bandura's Social Cognitive Theory as a tool to produce student process space in obtaining structured steps before implementing in the Monologue Ludrukan Garingan Markeso Mudo. Finally, it can obtain a good implementation formulation in practice in the field
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Дисертації з теми "Monologue the music"

1

Bahr, Mickey. "...and then, Claire an indie-rock monologue; integrating the independent music scene into American musical theatre." Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/653.

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Анотація:
For more than fifty years, the Independent (indie) Music Scene has existed as an evolving business model, allowing indie artists to develop a wealth of progressive musical ideas while creating a sustainable audience base. American Musical Theatre has an already-established rich history of adapting styles to fit concurrent trends in popular music while maintaining the story as the core of a show. While some indie artists (The Lisps, The Mountain Goats, Stephin Merritt, and Stew) and some musical theatre composers (David Yazbek, Doug Crossley, and Michael Friedman) have created crossover works, there is currently an overall dearth of musical theatre pieces infused with the indie style and a lack of indie albums with an actable musical theatre storyline. The intent of this thesis is to prove that although American Musical Theatre and the Independent Music Scene are two vastly different art forms, they can be combined to create a viable and unique form that appeals to both audiences. The indie-rock monologue ...and then, Claire was composed, recorded, and performed to test the viability of this thesis. In addition to presenting research on the history of American Musical Theatre and the Independent Music Scene, an analysis of the already-successful artists mentioned above is presented to provide context for ...and then, Claire. This context along with the original indie-rock monologue proves successful combinations of American Musical Theatre and the Independent Music Scene as well as the potential for more attempts in the future.
B.F.A.
Bachelors
Arts and Humanities
Theatre
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2

Stinton, Nicole Desiree. "Acting as song: A holistic pedagogy for sung characterisation in music theatre." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2025. https://ro.ecu.edu.au/theses/2925.

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Acting as song is a new philosophical approach to music theatre training enabling student actors to integrate singing and acting offering holistic, embodied acting-singing methods. Acting as song demands we abandon thinking that singing and acting are mutually exclusive, and that a character cannot be true-to-life because they are singing. Rather, singing is considered acting. Through practice based research, I show that acting as song results in more holistic, authentic, believable characterisation. It requires that acting and singing be integrated in multiple ways, that dramaturgical music analysis is made accessible to all students and embodied learning is used across educational contexts.
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3

Torres, Michael Rene. "Joseph Kreines and his Music for Alto Saxophone: A Biography, Analysis, and Performance Guide." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338398066.

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4

Imbert, Jeanne. "Edouard Dujardin, un cas exemplaire au sein du symbolisme : genres et formes (1885 -1893)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040145.

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Édouard Dujardin (1861-1949), fondateur de la Revue wagnérienne et de la Revue Indépendante de littérature et d’art, n’a pas été seulement un théoricien du symbolisme, il en a été le praticien. Son œuvre littéraire entre 1885 et 1893 explore aussi bien le vers que la prose, en retrace les questionnements. Résolument engagée dans l’avant-Garde, elle ne s’attaque pas seulement à l’édifice du réalisme, elle remet en cause le modèle de la mimèsis dans une recherche formelle intense. Ainsi l’œuvre de Dujardin se fait-Elle, de manière exemplaire, témoin de cette crise du vers que traversait l’univers des lettres. Genres, formes et confrontation entre les arts délimitent ce parcours en trois parties, qui ne suit pas un plan linéaire ou chronologique, mais un questionnement spécifique déterminé par chaque ouvrage. Pour cette raison, nous avons commencé par son théâtre, qui soulevait la question de l’identité du personnage. Le prénom Antonia nous a ainsi servi de fil conducteur pour aborder la relation vers et prose, telle qu’elle se manifeste soit dans le poème en prose soit dans le vers libre. Dans une seconde partie, nous avons interrogé les formes, la prose poétique de ses nouvelles et de son roman, qui répondent partiellement aux critères définissant le poème en prose. Enfin, dans le cadre de la confrontation entre les arts, nous nous sommes intéressés au phénomène textuel Les Lauriers sont coupés, considéré par la critique comme un procédé de « monologue intérieur », puis au rapport entre poésie et musique par l’étude de l’ouvrage Litanies mélopées pour chant et piano, qui met en vis-À-Vis poème et musique
Edouard Dujardin (1861-1949), the founder of Revue wagnérienne (the Wagnerian Journal) and Revue Indépendante de littérature et d’art (the independent journal of literature and art) has not only been a theoretician on symbolism but also a practitioner. His literary work between 1885 and 1893 explores verse as well as prose and traces back its questionings. Being resolutely engaged in the avant-Garde, it does not only tackle the structure of realism but also questions the model of mimesis in a sort of formal and intense research. It thus happens that Dujardin’s literary work testifies, in an exemplary way for that matter, to the crisis in verse that the literary universe was undergoing. Genres, forms and confrontations of different forms of arts define this course in three parts which does not follow a linear plan nor a chronological one but rather a specific questioning determined by each literary work. This is the reason why we started by studying his drama which raised the question of the character’s identity. The name of Antonia was thus used as a thread to tackle the relationship between prose and verse, as shown in the poem in prose or in free verse.In a second part, we questioned the forms-The poetic prose of his short stories and of his novel- which partly fulfil the criteria of the poem in verse. Lastly, in the context of the confrontation between the different types of arts, we focused on the text viewed as a phenomenon- Les Lauriers sont coupes- considered by critics as a form of “stream of consciousness” then on the connection between poetry and music through the study of the work Litanies, “mélopées” for piano and song, which confronts poem and music
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5

Bjuggfält, Jonathan. "Hej till publiken - är ni där? : Ett arbete om att hitta vägar att nå sin publik." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-65171.

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I det här arbetet har jag undersökt vikten av publikkontakt för mig som musiker.   Syftet för mig var att finna tillvägagångssätt att som musiker känna mig säkrare på scen och kunna beröra min publik.   Jag har skrivit en musikalisk clownmonolog Du duger inte som hade premiär den 1 april. Den spelades in och därefter har jag analyserat om den känsla jag hade på scen överensstämde med, eller skiljde sig från, vad jag kände som publik.   Jag har med hjälp av det här arbetet funnit ett tillvägagångssätt att musicera som gjort mig tryggare och mer kontrollerad på scen.
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6

Lütteken, Laurenz. "Das Monologische als Denkform in der Musik zwischen 1760 und 1785 /." Tübingen : M. Niemeyer, 1998. http://catalogue.bnf.fr/ark:/12148/cb39956009r.

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7

Yonemaru, Tomoko. "Something about Marybell." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6035.

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8

Rinker, John Thomas Glass Philip. "And one of time a composition for full orchestra with narration /." view full-text document. Access restricted to the University of North Texas campus, 1999. http://www.library.unt.edu/theses/open/19993/rinker%5Fjohn%5Fl/index.htm.

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9

Feezel, Mark Brandon. "The light for two narrators and chamber orchestra /." connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/feezel%5Fmark%5Fbrandon/index.htm.

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10

Christian, Bryan W. Christian Bryan W. Christian Bryan W. Christian Bryan W. "Wanderings." Diss., [La Jolla, Calif.] : University of California, San Diego, 2010. http://wwwlib.umi.com/cr/fullcit?p1477876.

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Анотація:
Thesis (M. A.)--University of California, San Diego, 2010.
Title from first page of PDF file (viewed July 14, 2010). Available via ProQuest Digital Dissertations. Sound files consist of recordings of North and Yet somehow comes emptiness in single-channel and stereo. configurations.
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Книги з теми "Monologue the music"

1

Baksa, Robert F. Monologue: For solo flute, 1993. [New York, N.Y.]: Composers Library Editions, 1994.

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2

Kind, Silvia. Monologe. [Port Angeles, Wash: S. Kind], 2000.

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3

Laurence, Senelick, ed. Cabaret performance: Sketches, songs, monologues, memoirs. New York: PAJ Publications, 1989.

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4

Christophe, Jacques. Steinlein: Partitions musicales illustrées, chansons et monologues d'Aristide Bruant. Lyon: Aléas, 2004.

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5

Godin, Robert. Full circle : for amplified voice. Springfield, Mass: Soundarts Press, 1987.

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6

Pisaro, Michael. Mind is moving (VI): For reader. Haan: Edition Wandelweiser, 1996.

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7

Noland, Gary. Teatime in purgatory: For narrator, piano improviser, and pantomimists : op. 16. Berkeley, CA: Freeland Publications, 1990.

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8

narrator, Ottonieri Tommaso 1958, Martusciello Maurizio, and Policastro Gilda, eds. Le strade che portano al Fùcino. Firenze: Le lettere, 2007.

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9

Wolfe, Lawrence. Suite dreams: For narrator and orchestra. Boston, Mass: ECS Pub., 1993.

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10

Graef, Peter de. 10 jaar De Kolonie Muziektheater. Antwerpen (Berchem): Muziektheater De Kolonie mt, 2017.

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Частини книг з теми "Monologue the music"

1

Amico, Stephen. "Non-fundamental Tones, or, the Pharmakon of Silence." In Ethnomusicology, Queerness, Masculinity, 177–210. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-15313-6_8.

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AbstractThe dialogic—a perpetual process of non-hierarchical interaction—is contrasted with both ethnomusicology’s and queerness’s monologic relationship to non-Western sites and people, a colonialist-masculinist stance founded on oppressive language and an implicit positing of the West’s knowledge production as singular, universal, and superior. Understanding communication as more than semiotic/linguistic, and the role of the sonic in relationality, it is argued that attention to the conceptual/material possibilities of echoes and reverberations—contrasting the monologic echo chamber with the expanse of ‘wild’ epistemic possibility—offers a way of conceiving of and working toward postdisciplinary, undisciplined explorations of sound, music, sex/uality, and the social. Silence is revealed as double-sided, a pharmokon—the poison of the silencing monologic, willingly withdrawn, becoming the remedy of self-silencing, a condition of pluriversality.
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2

Amico, Stephen. "Introduction: Silencing." In Ethnomusicology, Queerness, Masculinity, 1–36. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-15313-6_1.

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AbstractHighlighting the silencing of same-sex desire that marked both the early days of the AIDS crisis and the Pulse nightclub massacre, this chapter presents an overview of the monograph’s main contention: that such silencing continues, in both overt and covert manners, within a disciplined, Western academic sphere. Taking the recent relationship between ethnomusicology and queerness as meriting not celebration but scrutiny, it is argued that both disciplinary sites are undergirded by a gendered ‘metaepisteme’ driven by a masculinity indissolubly linked to a monologic, Eurocentric, exploitive coloniality. Ultimately, it is the embracing of ‘negative’ emotions and an affectively motivated future—marked, in part, by a self-silencing—that offer the possibility of a truly dialogic, equitable, postdisciplinary future for explorations of sound, music, sex/uality, and other as-yet unknowable/unnamed sites of inquiry.
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3

Davison, Peter. "‘The Music Hall Monologue and The Caretaker’ (1963)." In Harold Pinter: The Birthday Party, The Caretaker and The Homecoming. Bloomsbury Publishing Plc, 1986. http://dx.doi.org/10.5040/9781350362857.0024.

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4

Reynolds, Roger. "The Indifference of the Broiler to the Broiled." In Samuel Beckett and Music, 195–212. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198184270.003.0016.

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Abstract In 1966, just before leaving for an extended stay in Japan, I saw a production of Samuel Beckett’s Waiting for Godotin Minneapolis. I can still recall clearly the rush of excitement by which I was consumed during Lucky’s virtuoso monologue. What stunned me then was the juxtaposition of excess and control that this work manifested. Although it exceeded (exhilaratingly) the boundaries of what I had thought theatrically viable, it was, at the same time, parsimonious, spare and precise in its detail. The uniqueness of its author’s vision was unmistakable.
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Sobaskie, James William. "The Dramatic Monologue of Schubert's Mass in Ab Major." In Drama in the Music of Franz Schubert, 51–82. Boydell and Brewer Limited, 2019. http://dx.doi.org/10.1017/9781787444393.005.

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Sobaskie, James William. "The Dramatic Monologue of Schubert’s Mass in Ab Major." In Drama in the Music of Franz Schubert, 51–82. Boydell & Brewer, 2019. http://dx.doi.org/10.2307/j.ctv6jm9rg.11.

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Sobaskie, James William. "3 The Dramatic Monologue of Schubert’s Mass in Ab Major." In Drama in the Music of Franz Schubert, 51–82. Boydell and Brewer, 2019. http://dx.doi.org/10.1515/9781787444393-009.

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Frattarola, Angela. "Turning Up the Volume of Inner Speech." In Modernist Soundscapes, 94–113. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056074.003.0005.

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Chapter 4 questions how the common turn-of-the-century practice of listening to the telephone, phonograph, and radio through headphones may have aided modernists in turning up the volume and recording interior monologue—one’s “inner speech” that sounds out within the auditory imagination. Using Jonathan Sterne’s historical study of how headphones created a “private acoustic space,” this chapter postulates that listening to voices and music through headphones created a new sense of a personal and aesthetically objectified space within one’s head. Just as headphones brought unfamiliar sounds and voices into one’s private headspace, James Joyce represents the stream of consciousness as a collage of voices and sounds from literature, religion, popular culture, and the soundscape. In Ulysses (1922), Joyce creates an auditory cosmopolitanism, by allowing the languages and sounds of the surrounding world to penetrate and influence the interior monologues of his characters.
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"Chapter 3 Bantock and Browning: Reformulated dramatic monologue in Fifine at the Fair." In British Music and Literary Context, 133–88. Boydell and Brewer, 2012. http://dx.doi.org/10.1515/9781846159558-007.

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Walldén, Rea. "Interview with Antoinetta Angelidi." In ReFocus: The Films of Antoinetta Angelidi, 197–221. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474493703.003.0011.

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The chapter presents an interview of Antoinetta Angelidi with a style which is more like a conversation that sometimes becomes interactive, and at other points words and thoughts flow as in an inner monologue. In this interview Angelidi provides important information about her methods, her work with actors, the way she handles music, sound and noise, as well as her personal fantasies, and her ‘fixed ideas’ which become converted into exceptional images
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Тези доповідей конференцій з теми "Monologue the music"

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TUĞLUK, Mehmet Emin. "A COMPETITION TO FIND AN EQUAL TO THE TWELVE FOREIGN WORDS ORGANIZED BY THE ŞEHBÂL MAGAZINE (1909-1914)." In 3. International Congress of Language and Literature. Rimar Academy, 2021. http://dx.doi.org/10.47832/lan.con3-4.

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One of the important magazines of the Second Constitutional period was the magazine Şehbâl, which was published between 14 March 1909 and 14 July 1914. Political events and comments in Şehbâl magazine; culture, literature, music; painting, sculpture, architecture; health,sport; inventions and inventions, discoveries, accounting, humor, fashion, make-up, embroidery, housework; articles on many subjects such as information about new publications and selections from English, French, German and American magazines have been published. Another important feature of Şehbâl magazine is that it organizes competitions on various subjects. One of these competitions organized by the Magazine is The Competition to Find an Equal to The Twelve Foreign Words In this competition, it was requested to find the equivalents of the words bibliographie, boycottage, caprice, caricature, clup, conference, concert, decor, monologue, paradoxe, surprise, taximetre. Various words were suggested to this competition by 517 people. However, none of the suggested words are used in standard Turkey Turkish instead of the desired word. However, this competition is important in terms of showing the influence of foreign languages on Turkish and the awareness and resistance shown against this influence. Key words: Şehbâl Magazine, Competition, Second Constitutional, Foreign Languages, Turkish Equivalent.
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