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The human voice is a fascinating instrument. Through speech, singing and declamation, it transmits not only ideas, but also the emotions of the person who emits it. For a long time, its expressiveness has interested people, theorists as well as practitioners, and different paths have been taken to define and describe it. Based on the deeply interdisciplinary thought of the classical age, this book describes how the voice was thought about at that time. Indeed, music and language present fundamental structural links, allowing for the confrontation of disciplines and the linking of different traditions, but these have weakened considerably over the course of history. In order to rediscover these links, this research makes use of texts and compositions by French grammarians, orators, poets, musicians and philosophers of the 17th and 18th centuries. The interdisciplinary approach allows us to rediscover an astonishing abundance of ideas, images and methods of which we are at the same time the heirs, and without which the experimental work of the 19th-century phoneticians would not have been possible. This work still determines our understanding of vocal expression today. La voix humaine est un instrument fascinant. Par le biais de la parole, du chant et de la déclamation, elle transmet non seulement les idées, mais aussi les émotions de la personne qui l'émet. Depuis longtemps, son expressivité intéresse les hommes, théoriciens comme praticiens, et différentes voies ont été empruntées afin de la cerner et de la décrire.00S'appuyant sur la pensée de l'âge classique, profondément interdisciplinaire, cet ouvrage expose comment la voix était pensée à cette époque. En effet, musique et langue présentent des liens structuraux fondamentaux, permettant de confronter les disciplines et de relier différentes traditions disciplinaires, dont le lien théorique étroit s'est largement affaibli au cours de l'histoire. Pour ce faire, la présente recherche exploite des textes et compositions des grammairiens, orateurs, poètes, musiciens et philosophes français des XVIIe et XVIIIe siècles.00L'approche interdisciplinaire permet de redécouvrir un étonnant foisonnement d'idées, d'images et de méthodes dont nous sommes certes les héritiers, mais sans lequel les travaux expérimentaux des phonéticiens du XIXe siècle n'auraient pas été possibles. Ces travaux déterminent aujourd'hui encore notre compréhension de l'expression vocale.

Music theory. --- Film, TV and media today.

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The human voice is a fascinating instrument. Through speech, singing and declamation, it transmits not only ideas, but also the emotions of the person who emits it. For a long time, its expressiveness has interested people, theorists as well as practitioners, and different paths have been taken to define and describe it. Based on the deeply interdisciplinary thought of the classical age, this book describes how the voice was thought about at that time. Indeed, music and language present fundamental structural links, allowing for the confrontation of disciplines and the linking of different traditions, but these have weakened considerably over the course of history. In order to rediscover these links, this research makes use of texts and compositions by French grammarians, orators, poets, musicians and philosophers of the 17th and 18th centuries. The interdisciplinary approach allows us to rediscover an astonishing abundance of ideas, images and methods of which we are at the same time the heirs, and without which the experimental work of the 19th-century phoneticians would not have been possible. This work still determines our understanding of vocal expression today. La voix humaine est un instrument fascinant. Par le biais de la parole, du chant et de la déclamation, elle transmet non seulement les idées, mais aussi les émotions de la personne qui l'émet. Depuis longtemps, son expressivité intéresse les hommes, théoriciens comme praticiens, et différentes voies ont été empruntées afin de la cerner et de la décrire.00S'appuyant sur la pensée de l'âge classique, profondément interdisciplinaire, cet ouvrage expose comment la voix était pensée à cette époque. En effet, musique et langue présentent des liens structuraux fondamentaux, permettant de confronter les disciplines et de relier différentes traditions disciplinaires, dont le lien théorique étroit s'est largement affaibli au cours de l'histoire. Pour ce faire, la présente recherche exploite des textes et compositions des grammairiens, orateurs, poètes, musiciens et philosophes français des XVIIe et XVIIIe siècles.00L'approche interdisciplinaire permet de redécouvrir un étonnant foisonnement d'idées, d'images et de méthodes dont nous sommes certes les héritiers, mais sans lequel les travaux expérimentaux des phonéticiens du XIXe siècle n'auraient pas été possibles. Ces travaux déterminent aujourd'hui encore notre compréhension de l'expression vocale.

Music theory. --- Film, TV and media today.

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Drawing on the analogy between musical meaning-making and human subjectivity,℗ this book℗ develops the concept of the℗ acoustic self, exploring℗ the ways in which musical characterization and structure are related to issues of subject-representation in the modernist English novel.℗ The volume is framed around three musical topics⁰́₄the fugue, absolute music, and℗ Gesamtkunstwerk⁰́₄arguing that these three modes of musicalization address modernist dilemmas around selfhood and identity. Varga reflects on the manifestations of the℗ acoustic self℗ in examples from the works of E.M. Forster, Aldous Huxley, and Virginia Woolf and such musicians as Bach, Beethoven, Handel, and Wagner. An additional chapter on jazz and electronic music supplements these inquiries, pursuing the℗ acoustic self℗ beyond modernism and thereby inciting further discussion and theorization of musical intermediality, as well as recent sonic practices.℗ Probing the analogies in the complex interrelationship between music, representation, and language in fictional texts and the nature of human subjectivity, this book will appeal to scholars interested in the interface of language and music, in such areas as intermediality, multimodality, literary studies, critical theory, and modernist studies.

Music --- Philosophy and aesthetics. --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Philosophy

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Questions of authorship are central to the late thirteenth-century motet repertoire represented by the seventh section or fascicle of the Montpellier Codex (Montpellier, Bibliothque interuniversitaire, Section de mdecine, H. 196, hereafter Mo). Mo does not explicitly attribute any of its compositions, but theoretical sources name Petrus de Cruce as the composer of the two motets that open fascicle 7, and three later motets in this fascicle are elsewhere ascribed to Adam de la Halle. This monograph reveals a musical and textual quotation of Adam's Aucun se sont loe incipit at the outset of Petrus's Aucun ont trouve triplum, and it explores various invocations of Adam and Petrus - their works and techniques - within further anonymous compositions. Authorship is additionally considered from the perspective of two new types of motets especially prevalent in fascicle 7: motets that name musicians, as well as those based on vernacular song or instrumental melodies, some of which are identified by the names of their creators. This book offers new insights into the musical, poetic, and curatorial reception of thirteenth-century composers' works in their own time. It uncovers, beneath the surface of an anonymous motet book, unsuspected interactions between authors and traces of compositional identities.

Motets. --- Music --- Philosophy and aesthetics. --- Choruses --- Part songs --- Part songs, Sacred --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Philosophy

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This book is an innovative contribution to Alexander Scriabin (1872-1915) studies, covering aspects of Scriabin's life, personality, beliefs, training, creative output, as well as his interaction with contemporary Russian culture. It offers new and original research from leading and upcoming Russian music scholars. Key Scriabin topics such as mysticism, philosophy, music theory, contemporary aesthetics, and composition processes are covered. Musical coverage spans the composer's early, middle and late period. All main repertoire is being discussed: the piano miniatures and sonatas as well as the symphonies. In more detail, chapters consider: Scriabin's part in early twentieth-century Russia's cultural climate; how Scriabin moved from early pastiche to a style much more original; the influence of music theory on Scriabin's idiosyncratic style; the changing contexts of Scriabin performances; new aspects of reception studies. Further chapters offer: a critical understanding of how Scriabin's writings sit within the traditions of Mysticism as well as French and Russian Symbolism; a new investigation into his creative compositional process; miniaturism and its wider context; a new reading of the composer's mysticism and synaesthesia. Analytical chapters reach out of the score to offer an interpretative framework; accepting new approaches from disability studies; investigating the complex interaction of rhythm and metre and modal interactions, the latent diatonic 'tonal function' of Scriabin's late works, as well as self-regulating structures in the composer's music.

Scriabin, Aleksandr Nikolayevich, --- Criticism and interpretation. --- MUSIC / Instruction & Study / Composition. --- Alexander Scriabin. --- Compositional Process. --- Legacy. --- Music Analysis. --- Music Theory. --- Musicology. --- Mysticism. --- Russian Composer. --- Synaesthesia.