To read the Atlantic article and see (in larger format) the image in question, visit. I made some additional comments at, where the audio is housed. It is named Despite the Downturn: An Answer Album, the title phrase taken from a sentence in McArdle’s article.įor my (written) critique of McArdle’s piece, go to these two links:,. You can flip back and forth through the playlist using the small arrows. Some contributors used the notes as a starting point, while others took the canvas as a picture to be interpreted: Since the purpose of this album is to respond musically to McArdle, I’ll now let the music speak for itself.
In a small irony, the illustration used to decorate the article interpolated a detail of a preexisting work that appears to not yet be in the public domain: The article was accompanied by this beautiful illustration by Jeremy Traum. The article, by an editor at the magazine, Megan McArdle, was titled “The Freeloaders.” It purported to assess the impact of file-sharing on the music industry, but it framed the argument in a manner that (in my mind) contributed little to the important ongoing discussion about the nature of copyright in the Internet Age instead, it simplistically equated the “music industry” with the record industry, and pointed an accusatory finger. What they all have in common is that each is a response to - a non-verbal answer to - an article from the May 2010 issue of The Atlantic.
#Amadeus pro interpolate series#
The interface immediately below will stream in sequence a series of tracks that I commissioned from the musicians. Integrated into sacred Latin songs, the “Fulget dies” refrain functioned as a pithy musical and poetic commentary on liturgical, calendrical, and seasonal temporalities-in other words, as a trope of time in sacred song.This is ’s streaming-audio service. The inherently temporal meaning of the refrain lent it flexibility as a trope, enabling its movement across genres and liturgies. The “shining day” imagery introduced by the refrain offered a tangible way of marking seasonal time in devotional rites, poetically indexing the light-based symbolism of Christmas, the winter solstice, and the New Year. While tropes often enhance the “hic et nunc” (here and now) of the liturgy, the “Fulget dies” refrain gained additional temporal significance through its intimate link to songs of the Christmas season. I argue that the refrain’s long-standing appeal can be located in its function as a poetic and liturgical trope of time itself. Examining the unusual origins, transmission, and function of the refrain, I begin with its emergence in twelfth-century manuscripts and conclude with its unnotated appearance in nineteenth-century printed Catholic songbooks.
Tracing the circulation of the two-part refrain “Fulget dies … Fulget dies ista” across multiple centuries, in both song-form tropes of the office versicle Benedicamus Domino and as a trope interpolated into hymns, I chart its unique movement between genres and in and out of written record. This article explores a practice in evidence across Europe from the twelfth to the nineteenth century involving the singing of a brief refrain within sacred Latin songs and hymns.