No detailed description available for "SEBEOK: SPEECH SURROGATES PART 2 AS 23/2".

A pioneering collection of articles on lesbian, gay, bisexual, and transsexual language.

. An accompanying compact disk enables the reader to work closely with the sound of African speech and song discussed in the book.

Music plays an integral role in many facets of human life, from the biological and social to the spiritual and political. This book brings together interdisciplinary and cross-cultural studies on the functions, purposes, and meanings of music in human experience.

There are many aspects to this task of rabbinic training, but four closely related questions rise to the surface as requiring primary attention. The first is a question of description: What ought to be the functions performed by a messianic Jewish rabbi? The second is a question of legitimacy: What similarities exist between the functions performed by messianic Jewish rabbis and rabbis in the wider Jewish context such that the rabbinate in both contexts may legitimately be seen to be variations on the same theme, and the messianic Jewish rabbinate therefore legitimately a rabbinate? The third is a question of differentiation: How and why are the functions performed by a messianic Jewish rabbi contextually particularistic and therefore different from those performed byChristian clergy? In other words, how is a messianic rabbi more than just a Protestant Pastor with switched labels? The fourth is a question of biblicity: Is there biblical justification or precedent for the proposed paradigm of the rabbi as a surrogate priest? Each of these questions emerges from messianic Judaism's interaction with different but overlapping audiences. The question of description is addressed primarily to the messianic Jewish context. The question of legitimacy is addressed primarily to the wider Jewish world. The question of differentiation is addressed primarily to the church world. The question of biblicity is addressed both to the messianic Jewish context and the church world. And in all cases, looking over our shoulder is the general public. --from the Prologue

The garamut is a log idiophone that is found in many of the coastal and island areas of Papua New Guinea. The instrument’s primary use is as a speech surrogate and in some regions the garamut is also used in large ensembles to play complex music for dancing. In Baluan Island, within the Manus Province, this style of garamut playing is comparatively highly developed. This book follows the author’s processes and methods in learning to play the music of the garamut, to the level at which he became accepted as a garamut player by the people of Baluan. Lewis argues that analysis is essential in learning to play the rapid tempi and complex rhythms of Baluan garamut music, in a cultural context where there is no formal teaching process for the music. The transcription and analysis of the Baluan garamut repertoire is the centrepiece of this study, reflecting the cognitive structures of the learning process, and revealing the inner workings of the music’s complexity as well as a striking beauty of form and structure. The book concludes with reflections on the process of a ‘cultural outsider’ becoming a garamut player in Baluan and on the role of musical analysis in that process, on the ethnomusicologist’s role in transmission of the music, and on the nature of continuity and change in a musical society such as Baluan.

The bata is one of the most important and representative percussion traditions of the people in southwest Nigeria, and is now learnt and performed around the world. In Cuba, their own bata tradition derives from the Yoruba bata from Africa yet has had far more research attention than its African predecessor. Although the bata is one of the oldest known Yoruba drumming traditions, the drum and its unique language are now unfamiliar to many contemporary Yoruba people. Amanda Villepastour provides the first academic study of the bata's communication technology and the elaborate coded spoken language of bata drummers, which they refer to as 'ena bata'. Villepastour explains how the bata drummers' speech encoding method links into universal linguistic properties, unknown to the musicians themselves. The analysis draws the direct links between what is spoken in Yoruba, how Yoruba is transformed in to the coded language (ena), how ena prescribes the drum strokes and, finally, how listeners (and which listeners) extract linguistic meaning from what is drummed. The description and analysis of this unique musical system adds substantially to what is known about bata drumming specifically, Yoruba drumming generally, speech surrogacy in music and coded systems of speaking. This book will appeal not only to ethnomusicologists and anthropologists, but also to linguists, drummers and those interested in African Studies.