{"id":2039,"date":"2015-09-29T18:34:01","date_gmt":"2015-09-29T18:34:01","guid":{"rendered":"http:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/voices\/?page_id=2039"},"modified":"2015-09-29T18:46:34","modified_gmt":"2015-09-29T18:46:34","slug":"sample-presentations","status":"publish","type":"page","link":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/voices\/assessment\/presentations\/sample-presentations\/","title":{"rendered":"Sample Presentations"},"content":{"rendered":"<p>Listed below are the some of the previous years&#8217; presentation topics by way of example.<\/p>\n<ul>\n<li>Signifyin(g) in Bebop: Charlie Parker&#8217;s intertextuality<\/li>\n<li>Meaning without Words: A semiological analysis of Gy\u00f6rgy Ligeti&#8217;s Aventures<\/li>\n<li>Roots of dub: Musical borrowing in dub music<\/li>\n<li>A phonetic analysis of Bobby McFerrin&#8217;s Invocation<\/li>\n<li>Musical Exoticism in Benjamin Britten&#8217;s Prince of the Pagodas<\/li>\n<li>A poetic analysis of E J Moeran&#8217;s To Daffodils<\/li>\n<li>Signifyin(g) and Duke Ellington<\/li>\n<li>A structural and formal analysis of Philip Glass&#8217;s Knee Play 5 (Einstein on the Beach)<\/li>\n<li>Semiology and the dehumanised voice in Radiohead&#8217;s Fitter, Happier<\/li>\n<li>A poetic analysis of The Doors&#8217; A Little Game<\/li>\n<li>Music and Meaning in Purcell&#8217;s The Cares of Lovers<\/li>\n<li>The influence of classical music on rock, 1960-1980<\/li>\n<li>What&#8217;s Opera, Doc?: Quotation in early cartoon music<\/li>\n<li>Musical Borrowing in Disco<\/li>\n<li>A semiological analysis of Karl Jenkins&#8217; Adiemus<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Listed below are the some of the previous years&#8217; presentation topics by way of example. Signifyin(g) in Bebop: Charlie Parker&#8217;s intertextuality Meaning without Words: A semiological analysis of Gy\u00f6rgy Ligeti&#8217;s Aventures Roots of dub: Musical borrowing in dub music A phonetic analysis of Bobby McFerrin&#8217;s Invocation Musical Exoticism in Benjamin Britten&#8217;s Prince of the Pagodas [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":1806,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"footnotes":"","_links_to":"","_links_to_target":""},"_links":{"self":[{"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/voices\/wp-json\/wp\/v2\/pages\/2039"}],"collection":[{"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/voices\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/voices\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/voices\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/voices\/wp-json\/wp\/v2\/comments?post=2039"}],"version-history":[{"count":2,"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/voices\/wp-json\/wp\/v2\/pages\/2039\/revisions"}],"predecessor-version":[{"id":2041,"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/voices\/wp-json\/wp\/v2\/pages\/2039\/revisions\/2041"}],"up":[{"embeddable":true,"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/voices\/wp-json\/wp\/v2\/pages\/1806"}],"wp:attachment":[{"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/voices\/wp-json\/wp\/v2\/media?parent=2039"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}