Abstract

This article considers how rhetoricians might access rhetoricity, that which precedes and pervades meaning. The three pieces of minimalist music I examine—Steve Reich’s It’s Gonna Rain, Alvin Lucier’s I Am Sitting in a Room, and Philip Glass’s Einstein on the Beach—experiment with speech, peeling back the meaning-filled dimension of language in order to expose how affect and material move people. This peeling back of meaning, my analysis suggests, is achieved through refrain and rhythm, two forceful sonic rhetorical phenomena that rhetoricians might both study and deploy.

Journal
Rhetoric Society Quarterly
Published
2018-10-20
DOI
10.1080/02773945.2018.1439996
Open Access
Closed
Topics

Citation Context

Cited by in this index (1)

  1. Rhetoric Society Quarterly

Cites in this index (3)

  1. Computers and Composition
  2. Rhetoric Society Quarterly
  3. Computers and Composition
Also cites 10 works outside this index ↓
  1. Sweet Air: Modernism, Regionalism, and American Popular Song
  2. 10.1215/9780822391852
  3. 10.2307/j.ctt5vkfx1
  4. 10.1215/9780822374695
  5. Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity
  6. Non-Discursive Rhetoric: Image and Affect in Multimodal Composition
  7. Post-Postmodernism: Or, The Cultural Logic of Just-In-Time Capitalism
  8. The Political Life of Sensation
  9. 10.2307/j.ctt5hjqwx
  10. 10.1215/9780822390404
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