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Quarterly Journal of Speech Volume 58, 1972 - Issue 3
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Original Articles

The musical form in rhetorical exchange: Theoretical considerations

James R. Irvine Instructor of Speech, Colorado State University
&
Walter G. Kirkpatrick Instructor of Speech, DePauw University
Pages 272-284 | Published online: 05 Jun 2009

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Sebastiaan Gorissen. (2021) Contesting Hegemonic Masculinity Through Profeminist Passing on The Police’s Outlandos d’Amour. Women's Studies in Communication 44:4, pages 586-610.
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Lottie Elizabeth Johnson, Scott Haden Church & Quint Randle. (2021) (In)congruities between Political Messages and Popular Music: An Analysis of Campaign Songs in U.S. Presidential Elections. Communication Studies 72:4, pages 769-783.
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Scott Haden Church. (2017) Against the tyranny of musical form: glitch music, affect, and the sound of digital malfunction. Critical Studies in Media Communication 34:4, pages 315-328.
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Dana L. Cloud & Kathleen Eaton Feyh. (2015) Reason in Revolt: Emotional Fidelity and Working Class Standpoint in the “Internationale”. Rhetoric Society Quarterly 45:4, pages 300-323.
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IanE. J. Hill. (2012) Not Quite Bleeding from the Ears: Amplifying Sonic Torture. Western Journal of Communication 76:3, pages 217-235.
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LisaM. Chuang & JohnP. Hart. (2008) Suburban American Punks and the Musical Rhetoric of Green Day's “Jesus of Suburbia”. Communication Studies 59:3, pages 183-201.
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Sheryl Hurner. (2006) Discursive Identity Formation of Suffrage Women: Reframing the “Cult of True Womanhood” Through Song. Western Journal of Communication 70:3, pages 234-260.
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Deanna Sellnow & Timothy Sellnow. (2001) The "Illusion of Life" rhetorical perspective: an integrated approach to the study of music as communication. Critical Studies in Media Communication 18:4, pages 395-415.
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DeannaD. Sellnow. (1999) Music as Persuasion: Refuting Hegemonic Masculinity in “He Thinks He'll Keep Her”. Women's Studies in Communication 22:1, pages 66-84.
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Robert James Branham. (1999) “God save the_____!” American national songs and national identities, 1760–1798. Quarterly Journal of Speech 85:1, pages 17-37.
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DavidL. Palmer. (1998) Virtuosity as rhetoric: Agency and transformation in Paganini's mastery of the violin. Quarterly Journal of Speech 84:3, pages 341-357.
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KerranL. Sanger. (1997) Functions of freedom singing in the civil rights movement: The activists' implicit rhetorical theory. Howard Journal of Communications 8:2, pages 179-195.
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Paula Wilson. (1996) The rhythm of rhetoric: Jesse Jackson at the 1988 democratic national convention. Southern Communication Journal 61:3, pages 253-264.
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Mark Meister. (1996) Drama and tragedy in contemporary folk music: Nanci Griffith's “it's a hard life wherever you go”. Communication Studies 47:1-2, pages 62-71.
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DeannaD. Sellnow. (1996) Rhetorical strategies of continuity and change in the music of popular artists over time. Communication Studies 47:1-2, pages 46-61.
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DeannaD. Sellnow & TimothyL. Sellnow. (1993) John Corigliano's “Symphony No. 1” as a communicative medium for the AIDS crisis. Communication Studies 44:2, pages 87-101.
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John Limeberry. (1992) Did America view “from a distance” from a distance: An overview of culture and popular music from Vietnam to the Persian Gulf. Popular Music and Society 16:3, pages 75-87.
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CharlesJ. Stewart. (1991) The ego function of protest songs: An application of Gregg's theory of protest rhetoric. Communication Studies 42:3, pages 240-253.
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Susan Mackey‐Kallis. (1990) “How long to sing this song?” The rhetorical vision of U2's “Holy” community. Popular Music and Society 14:3, pages 51-58.
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Jeff Parker Knight. (1990) Literature as equipment for killing: Performance as rhetoric in military training camps. Text and Performance Quarterly 10:2, pages 157-168.
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JefferyJ. Mondak. (1988) Protest music as political persuasion. Popular Music and Society 12:3, pages 25-38.
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JamesW. Chesebro. (1986) Critical response and reply. Critical Studies in Mass Communication 3:2, pages 256-260.
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IrvingJ. Rein & CraigM. Springer. (1986) Critical response and reply. Critical Studies in Mass Communication 3:2, pages 252-256.
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Robert Francesconi. (1986) Free Jazz and black nationalism: A rhetoric of musical style. Critical Studies in Mass Communication 3:1, pages 36-49.
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Carl Bryan Holmberg. (1985) Toward the rhetoric of music: Dixie. Southern Speech Communication Journal 51:1, pages 71-82.
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Eric Robert Weisman. (1985) The good man singing well: Stevie wonder as noble lover. Critical Studies in Mass Communication 2:2, pages 136-151.
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JamesW. Chesebro, DavisA. Foulger, JayE. Naghman & Andrew Yannelli. (1985) Popular music as a mode of communication, 1955–1982. Critical Studies in Mass Communication 2:2, pages 115-135.
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CarlB. Holmberg. (1984) On the rhetoric of popular song: “Y'ain't juzz whizzlin’ ‘dixie’ “. Popular Music and Society 9:4, pages 27-33.
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Alberto Gonzalez & JohnJ. Makay. (1983) Rhetorical ascription and the gospel according to Dylan. Quarterly Journal of Speech 69:1, pages 1-14.
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ElizabethJ. Kizer. (1983) Protest song lyrics as rhetoric. Popular Music and Society 9:1, pages 3-11.
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DominicA. Infante & CharlesM. Berg. (1979) The impact of music modality on the perception of communication situations in video sequences. Communication Monographs 46:2, pages 135-141.
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John David Bloodworth. (1975) Communication in the youth counter culture: Music as expression. Central States Speech Journal 26:4, pages 304-309.
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G. Jack Gravlee & JamesR. Irvine. (1973) Watts' dissenting rhetoric of prayer. Quarterly Journal of Speech 59:4, pages 463-473.
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Articles from other publishers (3)

Roberto Avant-Mier. (2014) The Case of/for Communication (What Does It Mean to Study Popular Music?). Journal of Popular Music Studies 26:1, pages 4-13.
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Christopher Lynch. (2016) Ritual Transformation through Michael Jackson's Music Video. Journal of Communication Inquiry 25:2, pages 114-131.
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Virginia W. Cooper. (1985) Women in popular music: A quantitative analysis of feminine images over time. Sex Roles 13:9-10, pages 499-506.
Crossref

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