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Beyond its elucidation and critique of traditional 'notation-centric' musicology, this book's primary emphasis is on the negotiation and construction of meaning within the extended musical multimedia works of the classic British group Pink Floyd. Encompassing the concept albums that the group released from 1973 to 1983, during Roger Waters' final period with the band, chapters are devoted to Dark Side of the Moon (1973), Wish You Were Here (1975), Animals (1977), The Wall (1979) and The Final Cut (1983), along with Waters' third solo album Amused to Death (1993). This book's analysis of album covers, lyrics, music and film makes use of techniques of literary and film criticism, while employing the combined lenses of musical hermeneutics and discourse analysis, so as to illustrate how sonic and musical information contribute to listeners' interpretations of the discerning messages of these monumental musical artifacts. Ultimately, it demonstrates how their words, sounds, and images work together in order to communicate one fundamental concern, which—to paraphrase the music journalist Karl Dallas—is to affirm human values against everything in life that should conspire against them.

Instead of occupying a seat at Concordia’s Hall Theatre to see John Woo accepting a Career Achievement Award, ahead of a 35mm screening of his 1992 epic Hard Boiled, I’m at the Bell Centre waiting for Roger Waters to take the stage for our local stop on his This is Not a Drill tour. The Bell Centre just smacks of the 21st corporate takeover of the fabled rock palaces of the past, venues across North America being rebranded every couple years by everything from big tech companies to oil change franchises, and I’m not one for hanging on to shreds of past glory filtered through new sanitized formations in service of the profit-motive. [...]with $150 on the line, it was the sunken cost that got me. Waters’ bitterness over Gilmour’s contribution to the band is so tedious by now, and here he is, at age 78, continuing to infuse this bitterness into the very fabric of his shows. While it might seem a bit odd to go to a cinema to see a film that you can buy on disc at the vending tables right outside the cinema, Fantasia audiences know that experiencing the film in the context of a festival screening provides the gold standard to theatrical experience, something you just can’t get at home.

[...]Roger Waters implies that internal struggle is the exegesis for creating the album: I was getting strong urges to make extended pieces with segues between tracks and also to develop pieces where the songs have relationships. . . . The insubordinate nature underlying the origin of The Dark Side of the Moon provides a rich opportunity to get in touch with the predilection to resist unfair power plays. By these guidelines The Dark Side of the Moon becomes a narrative centered on the power structure that underlies its production, so all aspects (e.g., sound effects, musical interludes, instrumentals, and spoken-word phrases) complement its lyrics in order to make a perfect combination for the albums greatness, yet the catalyst to this lies somewhere deep in the psyche. [...]Cultural Materialism fosters awareness of alternative possibilities rather than accepting historical and social processes as unalterable, as postulated by Marx and other similar political critics.

Just as institutions are regularly assessed for their infrastructure, assessment of actual training could ensure compliance. A teacher's job is to provide learning opportunities, not guaranteeing a degree (taking a horse to the water...) [2] Residency programs are salaried employment, and it is legally binding on residents to provide service in the hospital. [...]working is a requirement, but learning is optional.

In 1984, he co-wrote a seminal paper on the use of buserelin to solve the problem of women ovulating before their eggs could be collected, and in 1985 he achieved the first birth with the drug. In the same year he was granted the first UK licence to perform intracytoplasmic sperm injection, and had the first birth in the UK with the technique in 1994. In 1987 the voluntary licensing authority temporarily removed the Wellington Humana Hospital from its list of approved IVF clinics.

The focus of the present study was on paralogical potential of the lyrics. For this reason, four tracks from The Wall, which focuses on the alienation and self-captivation of its main character, Pink, because of his nervous breakdown caused by family, school, and society, were analyzed with emphasis on the dialogic/paralogical elements within the album. “Mother”, “Hey You”, “Comfortably Numb”, and “The Trial” were studied separately. After a precise discussion and inspection, it was shown that Pink, as the main character (voice) in each of these tracks, allows the other voices (hierarchies) to have their say, and thus the continuous paralogy shows itself in the theatre of his mind. As a result, the only way is an ongoing conflict in which all the voices get a chance to speak out, not the deletion and elimination of any of them. Consensus leads to the annihilation of either one side or both/all sides. Therefore, the solution is an unsolvable Babel of conflict with the involvement of different language games (different trends of life).

Waters describes how he has responded to the Palestinian civil society's appeal to the world to establish a cultural picket line. He also persuade sothers to refrain from performing in Israel.