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A sound form of knowledge : = Composition and the rhetorical problem of music.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	A sound form of knowledge :/
其他題名:	Composition and the rhetorical problem of music.
作者:	Koehler, Adam M.
面頁冊數:	1 online resource (124 pages)
附註:	Source: Dissertation Abstracts International, Volume: 69-09, Section: A, page: 3533.
標題:	Rhetoric. -
電子資源:	click for full text (PQDT)
ISBN:	9780549810292

A sound form of knowledge : = Composition and the rhetorical problem of music.
Koehler, Adam M.

A sound form of knowledge :Composition and the rhetorical problem of music. - 1 online resource (124 pages)

Source: Dissertation Abstracts International, Volume: 69-09, Section: A, page: 3533.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 2008.

Includes bibliographical references

This dissertation investigates the relationship between music and rhetoric in the western rhetorical tradition in order to argue that rational and affective economies of language work together to provide critical, creative, and pedagogical environments in which discursive meaning can be fashioned. Based on historical and theoretical accounts of rhetorical and musical practices, I link composition theory with music theory in order to address one of rhetoric's most powerful features: its capacity to address political and cultural fields as they circulate alongside affective and personal uses of language. In the first chapter I establish how ancient Greek rhetoric overlapped with mousike and how the interanimation of poetry and music lines up with a larger understanding of the poetic qualities of prose writing. I argue that sophistry's musical understanding of language provides a way to imagine the scientific and poetic qualities of language together. The second chapter builds with this history in order to define what I call music-in-rhetoric: rhetorical economies that engage with rhythm, voice and instrument, harmony and dissonance, and sound and silence---economies in which the determinate and indeterminate are not mutually exclusive. Such economies, I argue, not only provide important talking points across rhetorical traditions, but also enable a creative understanding of critical inquiry. The third chapter examines how music-in-rhetoric contributes to Paul D Miller's understanding of emerging cultural practices that merge text, image, and music and how a musical conception of rhetoric can frame a kind of writing that enables artistic vision as well as critical cultural engagement. In chapter four, I investigate how a musical mode of listening can help construct an ethics within music-in-rhetoric that attends to cross-cultural engagement, while in the final chapter I develop a pedagogy that uses music-in-rhetoric in order to address the simultaneous rational and subjective economies of rhetoric that are required in order to facilitate critical cultural inquiry as well as dynamic creative participation within that culture. Through cultivating a musical understanding of rhetoric, I argue scholars and teachers can engage a creative and critical pedagogy that no longer fears rhetorical indeterminacy.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780549810292Subjects--Topical Terms:

567738
Rhetoric.
Index Terms--Genre/Form:

554714
Electronic books.

A sound form of knowledge : = Composition and the rhetorical problem of music.
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520 $a This dissertation investigates the relationship between music and rhetoric in the western rhetorical tradition in order to argue that rational and affective economies of language work together to provide critical, creative, and pedagogical environments in which discursive meaning can be fashioned. Based on historical and theoretical accounts of rhetorical and musical practices, I link composition theory with music theory in order to address one of rhetoric's most powerful features: its capacity to address political and cultural fields as they circulate alongside affective and personal uses of language. In the first chapter I establish how ancient Greek rhetoric overlapped with mousike and how the interanimation of poetry and music lines up with a larger understanding of the poetic qualities of prose writing. I argue that sophistry's musical understanding of language provides a way to imagine the scientific and poetic qualities of language together. The second chapter builds with this history in order to define what I call music-in-rhetoric: rhetorical economies that engage with rhythm, voice and instrument, harmony and dissonance, and sound and silence---economies in which the determinate and indeterminate are not mutually exclusive. Such economies, I argue, not only provide important talking points across rhetorical traditions, but also enable a creative understanding of critical inquiry. The third chapter examines how music-in-rhetoric contributes to Paul D Miller's understanding of emerging cultural practices that merge text, image, and music and how a musical conception of rhetoric can frame a kind of writing that enables artistic vision as well as critical cultural engagement. In chapter four, I investigate how a musical mode of listening can help construct an ethics within music-in-rhetoric that attends to cross-cultural engagement, while in the final chapter I develop a pedagogy that uses music-in-rhetoric in order to address the simultaneous rational and subjective economies of rhetoric that are required in order to facilitate critical cultural inquiry as well as dynamic creative participation within that culture. Through cultivating a musical understanding of rhetoric, I argue scholars and teachers can engage a creative and critical pedagogy that no longer fears rhetorical indeterminacy.
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