146,169 research outputs found

    Atossa’s Dream Yoking Music and Dance, Antiquity and Modernity in Maurice Emmanuel’s Salamine (1929)

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    This essay explores the conflicting trends of tradition and modernism, unity and independence in Parisian musical and dance culture in the late 1920s through an analysis of Maurice Emmanuel’s (1863-1938) aesthetics of contemporary and ancient Greek music and dance. It begins by outlining and critiquing Emmanuel’s relevant scholarly contributions to ancient Greek dance history and music history before demonstrating how these tensions manifested in the 1929 production of Emmanuel’s opera Salamine based on Aeschylus’s The Persians. Exploring Emmanuel’s aesthetics of music and dance (ancient and modern) affords a unique opportunity to see how these creative media were theorized and practiced in the tumultuous years after the Ballets russes, while illustrating some of the conflicts between what LĂ©andre Vaillat termed “the academic and the eurhythmic” in dance and music

    Toward an ecological aesthetics: music as emergence

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    In this article we intend to suggest some ecological based principles to support the possibility of develop an ecological aesthetics. We consider that an ecological aesthetics is founded in concepts as “direct perception”, “acquisition of affordances and invariants”, “embodied embedded perception” and so on. Here we will purpose that can be possible explain especially soundscape music perception in terms of direct perception, working with perception of first hand (in a Gibsonian sense). We will present notions as embedded sound, detection of sonic affordances and invariants, and at the end we purpose an experience with perception/action paradigm to make soundscape music as emergence of a self-organized system

    Toward an ecological aesthetics: music as emergence

    Get PDF
    In this article we intend to suggest some ecological based principles to support the possibility of develop an ecological aesthetics. We consider that an ecological aesthetics is founded in concepts as “direct perception”, “acquisition of affordances and invariants”, “embodied embedded perception” and so on. Here we will purpose that can be possible explain especially soundscape music perception in terms of direct perception, working with perception of first hand (in a Gibsonian sense). We will present notions as embedded sound, detection of sonic affordances and invariants, and at the end we purpose an experience with perception/action paradigm to make soundscape music as emergence of a self-organized system

    Stefan Themerson’s Opera (St. Francis & The Wolf of Gubbio or Brother Francis’ Lamb Chops)

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    The paper focuses on the experimental work of Stefan Themerson (St. Francis and The Wolf of Gubbio or Brother Francis’ Lamb Chops, an Opera in 2 Acts, text and music by Stefan Themerson, drawings by Franciszka Themerson, De Harmonie – Gaberbocchus Press, Amsterdam–London 1972) and the question of intermediality in general. An interpretation of the ‘semantic opera’ (written in 1954–1960, as a continuation of Semantic Divertissements [1962] and factor T [1956]), places Themerson’s idea in the context of the aesthetics of intermediality. The author signals a terminological confusion connected with the understanding of St. Francis and The Wolf of Gubbio (semantic opera; hybrid work; intermedial work, etc.) and argues that the aesthetics of intermediality appear to be an important and inspiring context for the interpretation of Themerson’s text and life. In this case, considerations on the subject of textuality show, on the one hand, different relations between literature, painting, music and theatre (artistic intermediality), and, on the other, the phenomenon of intermediality as the aesthetics of existence

    Utilizing Minangkabau “Gandang Tambua” Traditional Music Repertoire in Engineering the New Genre of Ensemble and Outdoor Music “Gong Tambur

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    Gandang tambua is one of the Indonesian traditional music (esp. Minangkabau – West Sumatera) ensembles. It is primarily used in traditional activities and custom ceremonies performed out-door by their communities. The musical genre is potential to be improved become a new musical ensemble built based on several musical instruments and the arrangements of their tones horizontally and vertically. In addition, there are some new instruments to be completed in order to become a musical system and an ensemble. The ensemble is called Gong Tambur Madi. The ensemble can function as a musical expression based on the Indonesian local aesthetics, so that it becomes a global aesthetic commonly needed right now everywhere, especially in Indonesia. Key words: gandang tambua, improved, ensemble, out-door music, aesthetics

    Editorial: Beyond Pythagoras

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    This fourth journal issue of Divergence Press is a selection of papers given at the Beyond Pythagoras Symposium held at the University of Huddersfield’s Centre for Research in New Music, 21-23 March 2014. The symposium sought to explore new trends in the sonic arts and experimental electronic music particularly new tuning systems, post-acousmatic and post-digital aesthetics, as well as the re-embodiment of sound production and listening

    Musica ex machina:a history of video game music

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    The history of video game music is a subject area that has received little attention by musicologists, and yet the form presents fascinating case studies both of musical minimalism, and the role of technology in influencing and shaping both musical form and aesthetics. This presentation shows how video game music evolved from simple tones, co-opted from sync circuits in early hardware to a sophisticated form of adaptive expression

    Soundings: Musical Aesthetics in Music Education Discourse from 1907 to 1958

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    In this dissertation I examine the discourse of music educators as it relates to musical aesthetics in the United States from the creation of the Music Supervisors’ Conference in 1907 to the year of the publication of Basic Concepts of Music Education: The Fifty-Seventh Yearbook of the National Society for the Study of Education, Part 1 in 1958. The purpose of this dissertation is to show that philosophical discussion, especially in relation to musical aesthetics, was much more comprehensive than previously acknowledged. The conventional view that the arguments supporting music education were primarily utilitarian is a limited interpretation of the discourse prior to 1958. In actuality, arguments about music extended beyond its practical social, economic, and political utility. Additional aesthetic theories guided the field and girded ideas of musical understanding and informed instruction. A better understanding of the discourse of this period contributes to more informed conversations about musical aesthetics and its relation to music education. Utilizing philosophical analysis and archival research, I argue in this dissertation that the philosophical discourse relating to musical aesthetics was rich, varied, insightful, and pervasive. The evidence in this dissertation refutes the standard interpretation which eschews the possibility of discourse on aesthetics taking place prior to 1958. I show that there was deeper philosophical analysis than what is currently acknowledged by those who presently make the claim that what was intended to happen generally in the field of music education and during instruction was solely guided by utilitarian philosophy. In other words, it expands the current understanding of philosophical discourse relating to musical aesthetics in music education before the Music Education as Aesthetic Education movement that is argued to begin with the publication of Basic Concepts

    A Decadence Baedeker: D'Annunzio's The Triumph of Death

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    This article investigates how Gabriele D’Annunzio’s The Triumph of Death brings together Nietzsche’s ideas and Wagner’s music and interweaves them with the motifs of literary Decadence and the author’s own particular sexual politics. The novel is an experimental text striving to be a Gesemtkunstswerk, an integrated work that incorporates music, painting, poetry, regional folklore, and private thoughts about personal and national power. I discuss the novel’s themes of violent sexuality and the anxiety of powerlessness and explore their implications for the fascist political aesthetics in which D’Annunzio played a pioneering role
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