scholarly journals The Performance of Time (or the time of musical performance)

2019 ◽  
Vol 4 (2) ◽  
pp. 490-509
Author(s):  
William Teixeira ◽  
Silvio Ferraz
Keyword(s):  
Twentieth Century ◽  
Musical Performance ◽  
Musical Composition ◽  
Musical Form ◽  
Bottom Line ◽  
Theoretical Approaches ◽  
Musical Discourse ◽  
Cello Sonata

In the twentieth century, time became a key-concept for music – maybe the art more dependent on time. Even so, a myriad of definitions did turn this idea not only into a rich element for musical discourse but also into a conceptual battlefield in discourses about music. Unfortunately, there was an issue for this struggle between theoretical ideas and musical composition that always insisted in striking the debate: the performance. Thus, this is the aim of this short reflection: to bring performers as protagonists in the debate, listening to their experience in time and of time in performance. For this, the Augustinian link between Time and Memory is taken as a bottom line for the discussion. In understanding music as a kind of discourse, another important conceptual device will be claimed for this reflection, that is Rhetoric. The first part of this reflection recollects concepts from the Aristotelian and Augustinian approaches on time and discourse, and concludes with a review of the main definitions of time by composers in the twentieth century. The second part reviews three theoretical approaches of musical form as process. A third section comprises the embodiment of those discussions into practice in the Cello Sonata, written by Bernd Alois Zimmermann.

Music Material Development Techniques (Lectures in «Principles of Music Analysis») 

2020 ◽  
pp. 53-69
Author(s):  
Р.Х. Лаул
Keyword(s):  
Final Section ◽  
High Efficiency ◽  
Music Analysis ◽  
Detailed Examination ◽  
Musical Composition ◽  
Musical Form ◽  
Musical Work ◽  
Saint Petersburg ◽  
Material Development ◽  
Development Processes

Настоящий материал продолжает серию публикаций лекций Рейна Лаула по анализу музыки в Санкт-Петербургской (Ленинградской) консерватории. Шестая лекция завершает обзор приемов разработочного развития музыкального материала. В нее вошли шесть из двадцати пяти приемов в авторской классификации (эпизодическая тема, производная тема, варьирование, полифонические варианты, приемы подвижного контрапункта, полифонические структуры), способствующей систематизации разработочных процессов. В поле зрения автора включены неспецифически сонатные способы преобразования музыкального материала, благодаря чему сонатность предстает в гибком и взаимодополняющем взаимодействии с иными принципами формообразования. Особое внимание уделено специфике применения полифонических средств развития музыкального материала в контексте сонатного формообразования. В ходе детального рассмотрения финала симфонии В. А. Моцарта Юпитер оказываются тесно связанными технологический, композиционно-драматургический и стилевой аспекты становления музыкальной формы. Заключительный раздел, обобщающий содержание лекции в целом, содержит пример практического применения предлагаемой автором методологии. Тем самым доказывается ее целесообразность и высокая эффективность как в аспекте анализа интонационной драматургии музыкального произведения, так и в достижении главной аналитической цели в формировании объективного представления о содержательной сути каждого этапа в развёртывании музыкальной композиции. This material continues the series of publications of R. H. Lauls lectures on music analysis at the Leningrad (Saint Petersburg) Rimsky-Korsakov State Conservatory. The sixth lecture concludes the review of techniques for developing musical material. It discusses six of the twenty-five techniques in the authors classification (episodic theme, derived theme, variation, polyphonic variants, mobile counterpoint techniques, polyphonic structures), which contributes to systematization of the development processes. The authors field of view includes non-specific Sonata methods of transforming the musical material, so that sonateness appears in a flexible and complementary interaction with other principles of formation. Special attention is paid to the specifics of using polyphonic means of developing musical material in the context of Sonata formation. The detailed examination of the finale of Mozarts Symphony Jupiter, shows that technological, compositional, dramatic, and stylistic aspects of the formation of a musical form appear to be closely related. The final section summarizing the content of the lecture as a whole contains an example of practical application of the methodology proposed by the author, proving its expediency and high efficiency not only in the aspect of analyzing the intonation drama of a musical work, but also of achieving the main analytical goal to form a reasoned judgment about the content of each stage in the deployment of a musical composition.

Regarding Electronic Music

Tempo ◽  
1966 ◽  
pp. 2-11 ◽  
Author(s):  
Aurelio de la Vega
Keyword(s):  
Twentieth Century ◽  
Electronic Music ◽  
Aesthetic Experience ◽  
The Other ◽  
Musical Composition ◽  
Electronic Medium ◽  
The Public ◽  
The World ◽  
Twentieth Century Music ◽  
Long Time

For a long time now—long when we consider the quick, changing time-scale of our days—electronic music has been with us. The public at large usually remains cold, confused or merely dazed when faced with any new aesthetic experience. Critics, musicologists and the like still seem, as usual, to be unable to predict what will happen to this peculiar, mysterious and often anathematized way of handling musical composition, while many traditionally-minded composers consider it a degrading destruction of the art of music. On the other hand, the electronic medium seems to attract a long, motley caravan of young, inexperienced and often unprepared ‘beatnik type’ self-titled composers, who believe that the world began yesterday and that you only have to push buttons and prepare IBM cards to obtain magical results. Probably not since Schoenberg proclaimed the equal value of the twelve semitones of our sacred but by now obsolete tempered scale has twentieth-century music been faced with such a bewilderment.

scholarly journals KARYA MUSIK YOUTH KELOMPOK MUSIK SOLOENSIS (Kajian Proses Penciptaan Dan Makna Teks Lagu)

2019 ◽  
Vol 11 (2) ◽  
Author(s):  
Bekti Setyo Utomo
Keyword(s):  
Creative Process ◽  
Musical Composition ◽  
Musical Form ◽  
Major Scale

ABSTRACT This paper focuses on the creative process of the song entitled Youth, and also the meaning of the lyrics. The lyrics and the structure of the music presented is a contradiction between the lyrics and the musical form. The song Youth created by the Soloensis music group used the major scales. Then, the character of their musical composition is cheerful and uses instruments that are not normally played in their works. The song Youth is a song with a message about the anxiety of the creator's youth. In the end, the content of the message is transformed into a song with a contrasting musical composition. This music constructs an atmosphere of anxiety and sadness using the diatonic major scale which is usually cheerful. Kata kunci : musik youth, soloensis, makna teks lagu

Musical Form and Musical Performance

1971 ◽  
Vol 9 (2) ◽  
pp. 271 ◽  
Author(s):  
Wallace Berry ◽  
Edward T. Cone
Keyword(s):  
Musical Performance ◽  
Musical Form

Tudorism in English Music, 1837–1953

Tudorism ◽  
2011 ◽  
Author(s):  
STEPHEN BANFIELD
Keyword(s):  
Twentieth Century ◽  
Case Studies ◽  
National Culture ◽  
New Music ◽  
Musical Composition ◽  
Political Agenda ◽  
Musical Culture ◽  
Early Music ◽  
General Picture ◽  
English Music

Between the early nineteenth and mid-twentieth centuries, a cultivated relationship with the music of a favoured period in the distant national past was a pervasive aspect of high, and sometimes lower, musical culture in England. This chapter first sketches a general picture of that relationship before presenting some particular case studies. It addresses the following questions: to what extent does Tudorism in music refer to the revival of music itself, to what extent to its stylistic emulation in nineteenth- and twentieth-century English compositions? Was it a matter of appealing to the Tudors to set a political agenda for music? Tudorism in English music was many things but also one very definite thing — a conscious modelling of style or atmosphere in musical composition on that of a perceived golden age of national culture. It was in some respects part of the early music movement that Harry Haskell identified as beginning in 1829 with Mendelssohn's revival of J. S. Bach's St Matthew Passion, yet not the same thing insofar as that movement was about reviving discarded old music and Tudorism was about creating new music in an earlier image.

Sapphic Stanzas: How Can We Read the Rhythm?

2019 ◽  
pp. 247-273
Author(s):  
Yopie Prins
Keyword(s):  
Twentieth Century ◽  
Critical Reflection ◽  
Musical Form ◽  
Poetic Form ◽  
Metrical Theory ◽  
Anne Carson ◽  
History Of ◽  
Anglo American ◽  
Rhythm And Meter ◽  
As If

This essay asks if, and how, we can read the rhythms of Sappho’s poetry as if it could be heard, still. The Sapphic stanza is a poetic form that has gone through a long history of transformations, from a powerful metrical imaginary in Victorian poetics (graphing Sapphic meter as a musical form) into an idealization of “Sapphic rhythm” in twentieth-century prosody (naturalizing the rhythms of speech). By comparing metrical translations of Sapphic fragment 16 (“The Anactoria Poem,” discovered in 1914), the essay proposes “metametrical” reading as a model for critical reflection on the complex dialectic between rhythm and meter. Examples are drawn from Victorian metrical theory and Anglo-American imitations of Sappho by modern and contemporary poets, including Joyce Kilmer, Marion Mills Miller, Rachel Wetzsteon, John Hollander, Jim Powell, Juliana Spahr, and Anne Carson..

Out of the Groove

2017 ◽  
Author(s):  
Andrea Bachner
Keyword(s):  
Twentieth Century ◽  
The Other ◽  
Theoretical Approaches ◽  
Contemporary Media ◽  
Way Of Thinking ◽  
The One

This chapter explores different links between sound and writing, from Rilke’s and Adorno’s reflections on phonographic grooves as a type of proto-writing in the early decades of the twentieth century to contemporary media theories that invest sound with the powers of immediacy, immersion, and corporeal resonance on the one hand and to poststructuralist fantasies of sound as an embodiment of écriture on the other. Sound theorists invest sound with contradictory desires: as a counter to phonocentric phantasms of presence as well as an alternative, resonant way of thinking, as that which is most mediated as well as a figure of non-mediation. And figures of inscription—as overt or disavowed imaginary, as well as negative foil—frequently represent and mediate between these differing theoretical approaches to sound. The genealogy of intextuated sound that this chapter narrates throws light on the strategic deployment of media in theory, for which sound (and its conceptual imaginaries) becomes a hallmark of reconceptualizing corporeality and materiality as well as a way of negotiating between mediation and the unmediated.

A Song, the Sea, and a Listening Boy: Whitman, Swinburne, Delius

2021 ◽  
pp. 240-253
Author(s):  
Elizabeth Helsinger
Keyword(s):  
Nineteenth Century ◽  
Musical Composition ◽  
Musical Form ◽  
Algernon Charles Swinburne ◽  
Moving Body

Song travels. Walt Whitman's poem ‘Out of the Cradle Endlessly Rocking’ (1859) travels across the Atlantic to generate first another poem by Algernon Charles Swinburne (‘On the Cliffs’, 1879) and then a cantata by Frederick Delius (Sea Drift, 1903–04). The three works share less a particular sequence of sounds or words than a scene which is also an aural landscape with three distinct parts: song, or its figure, the singing bird; a rhythmically moving body of water that shapes and carries sound; and a listening boy, moved to translate what he hears into poetic or musical form. Using as historical frame two examples pertinent to nineteenth-century debates about the relations between words and music, Jean-Jacques Rousseau’s 1770 mélodrame, Pygmalion, and Richard Wagner's 1860 essay, ‘Lettre sur la Musique’, this essay maps a Whitman-Swinburne-Delius journey of musical translation. Repetitions of Whitman's scene pose the question of song's travels from birdsong to poetry to musical composition. What travels includes the force behind the original song (its emotional springs) as well as the formal strategies by which different listeners translate what they hear into a poem or a piece of music. The rhythmic presence of the sea, as much a figure for such strategies as the singing bird is for inarticulate song, becomes as significant as that song and the listener it moves.

Introduction to the Special Issue on ‘Charisma’

2019 ◽  
Vol 12 (2) ◽  
pp. 99-114
Author(s):  
Maren Freudenberg ◽  
Tim Weitzel
Keyword(s):  
Social Sciences ◽  
Twentieth Century ◽  
Sociology Of Religion ◽  
Special Issue ◽  
Theoretical Approaches ◽  
The Social ◽  
Conceptual Debate ◽  
The Individual

The introduction to the special issue on ‘charisma’ offers a very brief overview of the development of the concept in the social sciences and various critiques and intersecting debates. It casts a close look at Max Weber’s sometimes contradictory use of the concept and the different ways he conceptualized it in his sociology of religion and his sociology of domination. It then examines alternative theoretical approaches to ‘charisma’ that emerge in the course of the twentieth century before outlining this special issue’s contribution to the conceptual debate and the individual articles’ operationalization of the term by viewing charisma as relational, communicative, procedural, as well as related to ideas, practices, and objects.

scholarly journals What is a rite? Émile Durkheim, a hundred years later

2018 ◽  
Vol 2 (1) ◽  
pp. 115-126 ◽  
Author(s):  
Lorenzo D’Orsi ◽  
Fabio Dei
Keyword(s):  
Twentieth Century ◽  
Social Relations ◽  
Social Bond ◽  
Western World ◽  
Emile Durkheim ◽  
Scientific Thought ◽  
Theoretical Approaches ◽  
Unitary Approach ◽  
Collective Representations

Abstract This paper is focused on the anthropological concept of ritual, starting from Emile Durkheim's approach in Les formes élémentaires de la vie religieuse (1912). We discuss three different aspects of the Durkheimian perspective on religion and rituals: a) the sacred/profane dichotomy; b) the concept of collective representations - which establishes a substantial continuity between religious and scientific thought; c) a ‟practical” and performative interpretation of rites as the basis of social bond. During the twentieth century, these aspects have influenced different and sometimes opposing theoretical approaches (including ‟symbolist” and ‟neo-intellectualist” theories and Victor Turner's ‟anthropology of experience”). We briefly review each of them, arguing for the importance of reconsidering them into a unitary perspective, centred on religious phenomena as basically moral experiences and as the language of social relations. In the conclusions, we will show how such unitary approach helps us understand the transformations as well as the continuities of rituality in the individualized and secularized societies of what we call nowadays the Western world.

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