Hasil untuk "Music and books on Music"

Hanna Chorell

This article presents a singer's perspective to Franz Schubert’s Winterreise. Winterreise has drawn performers, scholars, and audiences alike for nearly two centuries and much scholarship is dedicated to it. However, in the context of German song, singer's experience as a source of meaning has mostly been overlooked in scholarship, as this research is often focused on listening and score-analysis. This article seeks to fill this gap by focusing on singer’s experience as a source of meaning-making. I employ Karen Barad's agential realism as a theoretical framework to understand the ways Winterreise materialised and meant as a material-discursive phenomenon in performance, which took place during the Covid-19 pandemic. Agential realism shifts the focus from a fixed work, its representations and meanings to performance and its dynamic materialisations. The case study shows how the Covid-19 pandemic, I as a professional female opera singer and Winterreise intra-acted and emerged as material-discursive phenomena, giving new meaning to each.

Maria Rosa De Luca

The article addresses some of the main challenges related to the transmission of music-historical knowledge in today’s educational context, both at the school and academic levels. The focus is on the construction of historical knowledge, a crucial issue for the modes of historiographical narration. In this context, the analysis of teaching-learning procedures in music history extends to the music museum, understood as a space dedicated to promoting the learning of music history knowledge through innovative teaching approaches. The epistemological assumptions of didactic work are also discussed, taking into account the urgent problems that teachers face today in the process of didactic transposition, starting with the resistance to the growing phenomenon of presentism.

Wieczorek Ryszard J.

The paper focuses on a comprehensive dance collection compiled by two Wrocław/Breslau town musicians (Stadtpfeifer), the brothers Bartholomäus and Paul Hess. The anthology, partly preserved at Wrocław University Library, was published in 1555 at the Wrocław printing house of Crispin Scharffenberg and documents the transition of dance repertoire from the courtly realm to the private and public spheres, which was typical of the mid-sixteenth century. The Wrocław collection, scored for wind ensemble, contains 477 four- and five-part dances of German, Polish, French, and Italian provenance. The paper offers some new views on the repertoire from the collection. Particular attention has been given to the so-called Polish dances.

Radosław WIECZOREK

Kolorystyczne możliwości gitary klasycznej są cechą, która fascynowała kompozytorów zarówno w minionych epokach (F. Sor, Method for the Spanish Guitar, Cocks & Co, London 1832, s. 16), jak i w XX i XXI wieku. Wzrost zainteresowania barwą dźwięku w ostatnim stuleciu realizowany jest także w solowej literaturze gitarowej. Przykładem tego jest między innymi cykl etiud na gitarę solo Sette studi Maurizia Pisatiego. Dzieło to obrazuje, w jaki sposób sonorystyczne traktowanie instrumentu przekłada się na uzyskiwanie nowych jakości ekspresyjnych i artystycznych. W artykule zdefiniowane zostanie pojęcie „sonorystyki”, zasygnalizowana zostanie rola cyklu w dorobku kompozytora oraz przedstawione zostaną różnice pomiędzy procesem interpretacji opisywanych etiud a innymi kompozycjami tego typu. Opisane zostaną wyzwania techniczne i artystyczne, z którymi mierzy się wykonawca na każdym etapie pracy nad utworem – zapoznawanie się ze skomplikowanym tekstem muzycznym i z bogatymi oznaczeniami wykonawczymi; odczytanie i realizacja zamysłu kompozytora; wyostrzenie ekspresji, która ułatwi wciągnięcie słuchacza w oryginalny świat brzmieniowy. W artykule zostaną również zaprezentowane przykłady kilku innych utworów, których opanowanie i interpretację ułatwić może doświadczenie zdobyte podczas pracy nad Sette studi

Marko Motnik

Nedavna najdba koreografskega zapisa baleta Wiener Walzer (1885) omogoča nove vpoglede v dramaturško, plesnotehnično in vsebinsko zasnovo ene izmed produkcij dunajskega dvornega baleta v poznem 19. stoletju. Vzroke neznanskega uspeha te predstave je mogoče iskati v lokalno obarvani vsebini in glasbi. Delo se naslanja na številne klišeje kulturne identitete mesta, hkrati pa utrjuje njihov značaj.

Vera V. Serdechnaia

The author summarizes Blake studies of the 21st century. The beginning of the modern era of Blake studies can be considered with the paradigm of deconstruction. At the end of the 20th century, synthetic analysis took a special place in Blake studies, when Blake’s illuminated books were studied as an inseparable unity of verbal and visual. Blake’s legacy has undergone a significant evolution related to deconstruction and postmodern approaches, and linguistic research. The development of traditional areas of research, such as psychoanalysis, textual criticism of manuscripts, religious and mystical allusions, and comparative studies is also traced. Postmodernism, which owes much to the Romanticism (i.e. the concept of irony, fragmentation, the category of the exalted, the original lonely hero), brought new features to Blake studies and greatly contributed to its approval among canonical authors of the Romanticism. In modern Blake studies, such areas as gender studies, postcolonial studies, studies in digital reality environments are most actively developing. Starting from the 2000s, the main direction in Blake studies has become reception, that is, the cultural influence of Blake’s writings on later culture, including the culture of other countries: poetry, literature, music and cinema. Each new era reveals fundamentally similar features and adds meanings to Blake: this process is going from symbolism and psychoanalysis to the present day.

Antonio Chemotti

Book Review of: Renaissance music in the Slavic World, eds. Marco Gurrieri, Vasco Zara, Turnhout 2019

Jennifer Rushworth

Adriana Bozzetto

Este artigo apresenta um balanço da produção de trabalhos publicados em periódicos classificados pelo Qualis A1 e A2 da Capes (Coordenação de Aperfeiçoamento de Pessoal de Nível Superior), no campo da educação musical. O objetivo foi conhecer e analisar estudos que abordam o uso e o conceito de socialização em revistas da referida área, compreendendo o mesmo como processo educativo em múltiplos espaços presentes na contemporaneidade. Este trabalho integra a primeira etapa da pesquisa de pós-doutorado realizada na Faculdade de Educação da Universidade de São Paulo, a partir do interesse por um aprofundamento conceitual das teorias sociológicas dos processos de socialização. Os trabalhos que compuseram o corpus documental desta investigação compreendem vinte artigos publicados entre 2005 e 2017, no período de doze anos, nas três categorias analíticas delineadas, a saber: (1) uso tradicional do termo, (2) uso em compreensão sociológica e (3) ênfase teórica. Observa-se o crescente interesse da área de educação musical em compreender os efeitos das mídias na socialização de crianças e jovens, notadamente a partir de artigos identificados na segunda e terceira categorias. Junta-se às discussões sobre mídias o lugar da família para compreender um espaço privilegiado de formação de gosto e referenciais musicais, que trabalha junto à construção identitária dos indivíduos. Nesse sentido, o espaço educativo da escola não trabalha sozinho, carrega consigo a responsabilidade de abrir-se para novos desafios e demandas da vida cotidiana, considerando experiências e saberes individuais construídos em outros espaços de formação.

Bibiana Bragagnolo, Didier Guigue

Este artigo tem como principal objetivo apresentar uma análise da sonoridade na peça Contrastes, da compositora Marisa Rezende, onde elementos advindos da performance e da partitura são analisados lado a lado como fonte de informações sobre a construção da sonoridade na peça. Para realizar tal objetivo, utilizamos a metodologia de análise da sonoridade de Guigue, aliada à análise com suporte computacional, utilizando os softwares Open Music e Sonic Visualiser, e também os pressupostos investigativos da Pesquisa Artística. Tendo como base que o elemento central da sonoridade nesta peça são os contrastes, estes foram analisados através da metodologia acima explicitada utilizando arquivos de MIDI e áudio com as gravações da peça. Desta maneira, este artigo apresenta uma metodologia analítica que tornou possível perceber e explicitar a influência da performance na construção da sonoridade de Contrastes.

Elżbieta SZEWD

Musical amateur movement in Silesia has long and rich traditions, reaching the turn of the 19th and 20th centuries – apart from choral groups along with industry development, brass bands were taking activity. In order to specify number, organizational status, age structure, artistic con- dition, repertoire of the associated in Silesian Department of Polish Union of Choirs and Brass Band Orchestra, there was polled public opinion.

H. Y. Novikova

Проаналізовано феномен тематичного парку як інноваційної моделі середовищних музеїв. Застосовано культурологічний підхід з використанням методів аналізу та  синтезу. Розглянуто тематичний парк як унікальну модель середовищних музеїв, що здатна музеєфікувати реальне та нереальне середовище. Запропоновано власне визначення терміна «тематичний парк». На основі аналізу феномену тематичних парків, здатних музеєфікувати нереальне (казкове, фантастичне) середовище, обґрунтовано необхідність перегляду концепції «середовищних музеїв» та розроблення нової класифікації.

Rogério Costa

Apesar da grande quantidade de estudos dedicados ao assunto, a expressão “improvisação livre” mantém ainda hoje uma definição muito abrangente e imprecisa. Atualmente há, no Brasil e no mundo, muitas manifestações artísticas que incluem procedimentos que remetem, de forma explícita ou não, à livre improvisação. Um dos desafios que se coloca é, por um lado, a procura de uma definição do que seria comum entre as múltiplas e diversificadas práticas que se localizam no amplo território da improvisação livre ou que dela fazem uso e, por outro, do que seria singular e específico a cada uma destas práticas. É necessário definir se há realmente um território comum que abrange todas estas práticas para, posteriormente segmenta-lo em sub categorias com suas identidades próprias. É necessário também, desvendar os processos de construção de consistência em cada caso. No presente texto pretendo fazer um levantamento preliminar tendo em vista os objetivos acima delineados. Me interessa também discutir em que medida e de que forma estas manifestações interagem com determinadas configurações sociais, culturais e políticas contemporâneas ou, em outras palavras, determinar em que medida a improvisação livre pode ser pensada, tanto como um sintoma, quanto como uma linha de força que contribui de forma específica para a configuração de certos ambientes e contextos socioculturais contemporâneos relacionados às práticas criativas.

Urška Rihtaršič

Obstajajo trije idealni tipi (Max Weber) izvajalca zahodne klasične glasbe. Ti tipi opredeljujejo njegov odnos do drugih akterjev glasbene prakse – skladatelja, glasbenega dela in publike. Romantičnemu virtuozu glasba predstavlja sredstvo, prek katerega navdušuje občinstvo s svojo osebnostjo in telesnostjo. Nasprotno pa morata osebnost in telesnost modernističnega virtuoza ostati čim bolj skriti, da se lahko v polnosti izrazi glasbeno delo (Lydia Goehr), ki je plod intelektualnega dela skladatelja. Postmoderni virtuoz skladno z značilnostmi dobe kombinira lastnosti prej obstoječih tipov (pastiš, palimpsest), poleg tega pa ga bistveno opredeljuje vpetost umetnosti v sistem poznega kapitalizma in postmoderna izguba specifičnosti estetske izkušnje (Fredric Jameson).

Brynjulf Stige

The Voices vision is 10 years of age. The idea of a free international and electronic journal and forum for music therapy was first discussed at the Ninth World Congress on Music Therapy in Washington, in November 1999. One and a half years later, Voices: A World Forum for Music Therapy was launched at the Fifth European Music Therapy Congress in Naples

Maurício Nunes Garcia

Bolman Filip V.

Since the first annual Eurovision Song Contest in 1956, politics and popularity have intersected to influence the ways in which Eurovision songs have reflected the complex forms of European nationalism. With the Eurovision victory of Marija Šerifović’s ′Molitva′ at the 52nd Eurovision in Helsinki the politics of regionalism and nationalism fully enveloped Southeastern Europe, creating the impression that old and new European alignments, from Habsburg nostalgia to an emerging Balkan brotherhood, overwhelmed the criteria that would otherwise mean that the grand prix would go to the best song. Taking Marija Šerifović’s ′Molitva′ 2007 as a point of departure, this article examines the extremely complex set of networks that intersect at the Eurovision Song Contest and the national rituals and competitions that transform the power and pleasure driving European popular song in the twenty-first century.

M. L. Parry

David Sanjek

One of the principal tools for acquiring and maintaining cachet in the so-cial commonwealth of the barroom or roadhouse springs from a person's capacity to tell a story, and the more humorous or idiosyncratic the better. Ethnographic efforts to convey the ethos of just such an environment and means of communication often, sadly, sap the life out of this kind of infor-mal discourse and render routine what would otherwise be irregular and idiosyncratic. Aaron Fox's Real Country: Music and Language in Working-Class Culture constitutes one of those rare occasions when conjuring up a world most readers, certainly those from the academic domain, rarely en-counter does not compromise either its citizens or their self-determined means of communication.

Hans Heinrich Eggebrecht

The latter production of Beethoven is distinguished by an increase of those features about the man and the composes, that can be described as Beethoven's ethical center. As far as Beethoven improves the many different traditions of musical forms in his latter piano sonatas, the Ninth Symphony, the Missa Solemnis, and his latter string quartets, appears the ethical message of his music conditioned because of he was an advanced age, even though every time in a different way, so that we cannot speak about a unified latter style of Beethoven's latter production. The messages analyzed in this article are about a present of internal peace, joyfulness and Utopia of the reconciliation, pray for peace, and thanks for lifetime.