124,905 research outputs found
Functionality and history of electronics in regards to the performance practice of the following works: Temazcal (1984), Javier AÌlvarez, and Memory Palace (2012), Christopher Cerrone
Master's Project (M.Mu.) University of Alaska Fairbanks, 2016The Electroacoustic pieces; Temazcal (1984), by Javier Alvarez (b.1956), and Memory Palace (2012) by Christopher Cerrone (b.1984), each employ different types of electronic technologies in their realization through performance. This paper will discuss the origin and history of the technology applied respectively in the works. I will examine the role of percussion within the works, specifically in regards to learning and problem solving through technological challenges in order to effectively perform the compositions. By looking at Temazcal and Memory Palace through the context of their historical significance as electroacoustic works, the inherent functionality of the technology employed in each, and the resultant performance practices that have subsequently developed, a greater musical appreciation and understanding of electroacoustic works, in general, is possible
Mozart and l'impresario
In May 1856, less than a year after opening, Jacques Offenbachâs ThĂ©Ăątre des Bouffes-Parisiens mounted a production of Mozartâs Der Schauspieldirektor entitled LâImpresario. Originally written in 1786 as a play with music consisting of no more than an overture and four numbers, Der Schauspieldirektor posed problems for would-be performers throughout the nineteenth century. Attempts to turn it into a one-act comic opera included adding numbers from Cimarosaâs Lâimpresario in angustie (1791), and from operas by Dittersdorf and others (1814). Louis Schneiderâs solution for Berlin (1845) lengthened the opera by adding in songs and romances from elsewhere in Mozartâs own output. This served as the basis for Offenbachâs version a decade later, when LĂ©on Battu and Ludovic HalĂ©vy wrote a completely new libretto to turn the Singspiel into an opĂ©ra bouffe for Offenbachâs troupe.
LâImpresario enhanced the status of the ThĂ©Ăątre des Bouffes-Parisiens when previously its activities had barely been considered seriously by the press, and also contributed significantly to the enshrinement of Mozart in Paris in his centenary year. Offenbachâs cast, selected from recent Conservatoire graduates, avoided the comic duo who had ensured the troupeâs earlier success in an attempt to sustain an image of the work to equal that of Don Giovanni or Le nozze di Figaro. In complicating the relationship between composer and entrepreneur both on and off the stage, LâImpresario brought Mozart into Offenbachâs theatrical world and invited operatic collusion between what was emerging as high and low art: the reception of Mozart and operetta
Synaesthesia in Cixous and Barthes
1995-01-01
ReportâCentre and periphery, roots and exile: Interpreting the music of IstvĂĄn Anhalt and György KurtĂĄg. Centre et pĂ©riphĂ©rie, racines et exil : LâinterprĂ©tation de la musique dâIstvĂĄn Anhalt et de György KurtĂĄg. Rozsa Centre, University of Calgary January 22â25 janvier, 2008
Au mois de janvier 2008, le dĂ©partement de musique de lâUniversitĂ© de Calgary a consacrĂ© trois jours Ă un colloque bilingue portant sur la musique et les idĂ©es dâIstvĂĄn Anhalt et de György KurtĂĄg, examinĂ©es sous les angles musicologiques, ethnomusicologiques, pĂ©dagogiques et analytiques. Des participants du Canada, dâEurope et des Ătats-Unis ont prĂ©sentĂ© des communications et participĂ© Ă des discussions entourant la musique, ainsi que lâidentitĂ© et lâappartenance Ă un lieu des deux compositeurs, par le biais dâune large sĂ©lection dâoeuvres. La confĂ©rence dâouverture dâAnhalt a abordĂ© des considĂ©rations biographiques en rapport avec lâĂ©migration de sa Hongrie natale et lâimpact de cet Ă©vĂ©nement sur sa musique, tandis que celle de Beckles Willson sâest concentrĂ©e sur le rapport intime qui lie la musique de KurtĂĄg Ă Budapest. Les prĂ©sentations subsĂ©quentes ont dĂ©voilĂ© de nouveaux aperçus sur la musique vocale des deux compositeurs et sur les oeuvres pour orchestre dâAnhalt et la musique de chambre de KurtĂĄg. Le colloque sâest terminĂ© avec des discussions parallĂšles concernant dâautres compositeurs, tels que B. BartĂłk, H. Lachenmann, J. Rea, W. Rihm, R. Schumann, M. Seiber et S. Veress. Six concerts ont aussi accompagnĂ© les dĂ©bats avec des prestations dâoeuvres dâAnhalt, de KurtĂĄg et dâautres compositeurs du Festival de la Nouvelle Musique 2008 du dĂ©partement de musique
"La musique devient ce qu'elle est" : dynamique musicale et traces matérielles
L'un des éléments sur lesquels se fondait la critique adornienne de la musique de Stravinsky relevait de cette fameuse «pseudomorphose de la musique sur la peinture»,' laquelle allait lui permettre non seulement de mettre l'accent sur le statisme de la musique du compositeur russe, mais aussi d'étendre cette lecture a la production musicale du second aprÚs-guerre. En effet, dans sa réactualisation de la critique stravinskienne, datant des années 60, le philosophe notait la proximité que lui paraissait entretenir la musique récente avec la musique de Stravinsky, bien qu'elle semblùt dériver plus directement de celle de SchÎnberg: là aussi, la musique ne serait plus en mesure de satisfaire I' "obligation qu'elle a de devenir"
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