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Cette anthologie présente, pour la première fois en langue française, une sélection traduite des écrits et entretiens de Neuhaus, comprenant notamment plusieurs inédits et organisée selon une lecture s'attachant à dégager les principales lignes de fuite qui animent sa recherche foisonnante. La première partie s'intéresse à la problématisation contextuelle de l'écoute, comprise au carrefour de ses dimensions physiologique, technologique, sociale et culturelle, et dont dépend le renouveau critique d'une pensée de l'attention. La partie suivante regroupe un ensemble de textes où se dessine, au fil des années et des remises en cause esthétiques, l'émergence d'un paradigme sonore émancipé du musical et trouvant dès lors, chez l'artiste, son épanouissement dans le champ des arts plastiques. Les questions liées au design sonore et à l'environnement occupent la troisième partie et constituent un important domaine de recherche dans l'évolution du travail de Neuhaus. C'est ici une approche singulière de l'écologie sonore qui se fait jour. Formulée dans le sillage de son intérêt pour l'attention contextuelle de l'écoute et résolument inscrite dans des préoccupations urbaines, la position défendue par Neuhaus invite au passage à reconsidérer l'historiographie de ce champ d'études. La dernière partie réunit enfin les différents textes, documents et entretiens rédigés et donnés par Neuhaus qui simultanément interrogent et projettent, du point de vue sonore, les transformations sociales et esthétiques inhérentes à l'avènement des réseaux, investissant la communication orale au sein d'une communauté déterritorialisée d'une véritable politique de l'auralité."--Résumé du site web de l'éditeur. "La première anthologie en français des écrits et entretiens de Max Neuhaus, figure cruciale de l'expérimentation en musique électronique aux États-Unis et pionnier des arts sonores. Des articles détaillant les enjeux esthétiques de son travail, à ses prises de position critique dans la presse, en passant par les textes de catalogues, entretiens, notices et autres documents de recherche, l'œuvre textuelle de Max Neuhaus (1939-2009) est à l'image de son activité artistique : à la fois riche, ancrée dans les problématiques contemporaines et touchant, à travers le fil rouge que constitue le son, à des sujets particulièrement variés, où l'artiste endosse tour à tour les habits du scientifique, de l'ingénieur, de l'architecte, du designer sonore, ou encore de la critique sociale et institutionnelle.
Musique électronique --- Théorie de la musique --- Etats-Unis --- Contemporary music
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82:7 --- Literatuur en kunst --- Theses --- 82:7 Literatuur en kunst --- Contemporary music
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Among the more striking developments in contemporary North American music theory is the centrality that questions of musical form (Formenlehre) have enjoyed in recent decades. Formal Functions in Perspective presents thirteen studies that engage with musical form in a variety of ways. The essays, written by established and emerging scholars from the United States, the United Kingdom, Canada, and the European continent, run the chronological gamut from Haydn and Clementi to Leibowitz and Adorno; they discuss Lieder, arias, and choral music as well as symphonies, concerti, and chamber works; they treat Haydn's humor and Saint-Saëns's politics, while discussions of particular pieces range from Mozart's arias to Schoenberg's Verklärte Nacht. Running through all of these essays and connecting them thematically is the central notion of formal function. CONTRIBUTORS: Brian Black, L. Poundie Burstein, Andrew Deruchie, Julian Horton, Steven Huebner, Harald Krebs, Henry Klumpenhouwer, Nathan John Martin, François de Médicis, Christoph Neidhöfer, Julie Pedneault-Deslauriers, Giorgio Sanguinetti, Janet Schmalfeldt, Peter Schubert, Steven Vande Moortele Steven Vande Moortele is assistant professor of music at the University of Toronto. Julie Pedneault-Deslauriers is assistant professor of music at the University of Ottawa. Nathan John Martin is assistant professor of music at the University of Michigan.
Musical form. --- Formes musicales --- Form, Musical --- Music --- Adorno. --- Contemporary Music. --- Essays. --- Formal Analysis. --- Formal Functions. --- Haydn. --- Music Theory. --- Musical Form.
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In the first study of the global dimensions of musical modernism, Björn Heile proposes a novel theory according to which musical modernism is constituted by a global diasporic network of composers, musicians and institutions. In a series of historical and analytical case studies from different parts of the world, this book overcomes the respective limitations of both Eurocentric and postcolonial, revisionist accounts, focusing instead on the transnational entanglements between the West and other world regions. Key topics include migration, the transnational reception and transfer of musical works and ideas, institutions such as the International Society for Contemporary Music (ISCM) and composers who are rarely discussed in Western academia, such as the Nigerian-born Akin Euba and the Korean-German Younghi Pagh-Paan. Influenced by the interdisciplinary notion of 'entangled histories', Heile critiques established dichotomies, all the while highlighting the unequal power relations on which the existing global order is founded.
Modernism (Music) --- Music and globalization --- History --- History. --- Euba, Akin, --- Pagh-Paan, Younghi, --- International Society for Contemporary Music.
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Music --- Musique --- History and criticism --- Philosophy and aesthetics --- Histoire et critique --- Philosophie et esthétique --- Philosophie et esthétique --- Composition (Music) --- Composition (musique) --- Contemporary music
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Cette collection consacrée aux musiques nouvelles rassemble les contributions de théoriciens et d'esthéticiens de la musique et de musiciens dans des ouvrages de réflexion et d'entretiens. Avec un portfolio de dessins de Sarkis, « Sculpture musicale dans la forêt de Grünewald à Berlin ». Ce premier ouvrage concerne les thèmes suivants : penser les nouveaux mondes sonores et mutations électrosonores. Table des matières : « Penser les nouveaux mondes sonores » (Philippe Franck > Introduction, Jean-Paul Dessy > Orphénix, Bernard Stiegler > Le train, Henri Van Lier > Un nouveau paradigme : les formes aminoïdes, François Delalande > De Schaeffer au Djing). « Mutations électrosoniques » (Philippe Franck > Flux sonores et nomadisme électronique, Paul D. Miller > Des palimpsestes et de la parataxe ou comment faire un mix ?, David Toop > Sonic Boom, David Shea > Passages, Leo Kupper > Musiques imaginaires, musiques méta-réelles, musiques matérielles, Robin Rimbaud > Futur antérieur, Kim Cascone > Anemic Cinema, visuels live à l'âge de la musique portable, Sarkis > Le geste et le son). « Portfolio » (Sarkis > Sculpture musicale dans la forêt de Grünewald à Berlin). Audio (Jean Paul Dessy > Fable ineffable, David Shea > Intriguantes, Scanner > Anti – Clockwise, Dj Spooky > Heterotopian trace, David Toop > Air-con function, Kim Cascone > Black theorem, Leo Kupper > Paroles sur lèvre, Sarkis > Tak.
Histoire de la musique --- Son --- Théorie de l'art --- Sound. --- Music --- Electronic music. --- Musique électroacoustique. --- Son. --- Musique --- Musique électronique. --- electronic music. --- sound (acoustics) --- Neue Musik --- Philosophy and aesthetics. --- Philosophie et esthétique. --- Contemporary Music
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Making New Music in Cold War Poland presents a social analysis of new music dissemination at the Warsaw Autumn International Festival of Contemporary Music, one of the most important venues for East-West cultural contact during the Cold War. In this incisive study, Lisa Jakelski examines the festival's institutional organization, negotiations among its various actors, and its reception in Poland, while also considering the festival's worldwide ramifications, particularly the ways that it contributed to the cross-border movement of ideas, objects, and people (including composers, performers, official festival guests, and tourists). This book explores social interactions within institutional frameworks and how these interactions shaped the practices, values, and concepts associated with new music.
Music --- Music festivals --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Musical festivals --- Performing arts festivals --- History and criticism. --- International Festival of Contemporary Music. --- Automne de Varsovie (Festival) --- Festival de musique contemporaine --- Festival international de la musique contemporaine --- Festival of Contemporary Music, International --- Międzynarodowy Festiwal Muzyki Współczesnej --- Międzynarodowy Festiwal Muzyki Współczesnej "Warszawska Jesień" --- Otoño de Varsovia (Festival) --- Warsaw Autumn (Festival) --- Warsaw Autumn International Festival of Contemporary Music --- Warschauer Herbst (Festival) --- Warszawska Jesień (Festival) --- academic study. --- academic. --- cold war era. --- cold war history. --- cold war. --- composer. --- contemporary music. --- cross border. --- discrimination. --- europe. --- european history. --- history. --- institutional. --- international. --- music festival. --- musical composition. --- musician. --- new music. --- performer. --- poland. --- polish music. --- scholarly. --- social history. --- tourism. --- tourist. --- warsaw. --- world history. --- world music.
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Since the early transformation of European music practice and theory in the cultural centers of Asia, Latin America, and Africa around 1900, it has become necessary for music history to be conceived globally - a challenge that musicology has hardly faced yet. This book discusses the effects of cultural globalization on processes of composition and distribution of art music in the 20th and 21st century. Christian Utz provides the foundations of a global music historiography, building on new models such as transnationalism, entangled histories, and reflexive globalization. The relationship between music and broader changes in society forms the central focus and is treated as a pivotal music-historical dynamic.
MUSIC / History & Criticism. --- 20th Century. --- Asia. --- China. --- Cultural History. --- Cultural Studies. --- Entangled Histories. --- Globalization. --- Interculturalism. --- Japan. --- Korea. --- Music. --- Musicology. --- Transnationalism. --- Contemporary Music; 20th Century; Globalization; Transnationalism; Entangled Histories; Asia; China; Japan; Korea; Music; Musicology; Interculturalism; Cultural Studies; Cultural History
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Video game music has been permeating popular culture for over forty years, at least since the titular aliens of Space Invaders arrived in 1978, accompanied by an ever-accelerating musical ostinato. Now, reaching hundreds of millions of listeners, game music has grown to encompass a diverse spectrum of musical materials and practices. Its instrumentation ranges from orchestras to rock bands, its contexts from bedroom televisions to concert halls, its materials from 'art music' to Top-40 pop, and its systems from generative music technologies to carefully hand-crafted idiosyncratic musical structures. No longer a novelty within electronic music technology, nor a poor relative to film music, game music engages huge audiences, large budgets, and is the site of innovative scholarship. As well as being a crucial component of the audio-visual interactive experience of video gaming, game music has also had a marked impact on broader popular culture. Simply put, video game music is an important aspect of the musical life of the late-twentieth and twenty-first centuries in the Western world, and has cross-fertilized with many musical genres. At the same time, game music highlights a long tradition of music and play that can be traced back to antiquity.
Computer game music. --- Video game music. --- Video game music --- Computer game music --- Music --- Background music for computer games --- Chiptunes --- History and criticism. --- Psychological aspects. --- Production and direction. --- Musique de jeux vidéo --- Twentieth-Century and Contemporary Music --- Film
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Wallace Stevens’s musicality is so profound that scholars have only begun to grasp his ties to the art of music or the music of his own poetry. In this study, two long-time specialists present a polyphonic composition in which they pursue various interlocking perspectives. Their case studies demonstrate how music as a temporal art form may affect a poetic of ephemerality, sensuous experience, and affective intensification. Such a poetic, they argue, invites flexible interpretations that respond to poetry as an art of textual performance. How did Stevens enact the relation between music and memory? How can we hear his verse as a form of melody-making? What was specific to his ways of recording birdsong? Have we been missing the latent music of Richard Strauss, Gustav Mahler, and Claude Debussy in particular poems? What were the musical poetics he shared with Igor Stravinsky? And how is our experience of the late poetry transformed when we listen to a musical setting by Ned Rorem? The Poetic Music of Wallace Stevens will appeal to experts in the poet’s work, students of Modernism in the arts, and a wider audience fascinated by the dynamics of exchange between music and poetry. Bart Eeckhout is Professor of English and American Literature at the University of Antwerp, Belgium, and has been Editor of The Wallace Stevens Journal since 2011. His books include Wallace Stevens and the Limits of Reading and Writing (2002), five co-edited volumes on Stevens, and twelve co-edited thematic issues of The Wallace Stevens Journal. Most recently he co-edited The New Wallace Stevens Studies (2021). Eeckhout is a Member of the Royal Flemish Academy of Belgium for Science and the Arts. Lisa Goldfarb is Professor at New York University’s Gallatin School, USA, President of The Wallace Stevens Society, and Associate Editor of The Wallace Stevens Journal. She is the author of The Figure Concealed: Wallace Stevens, Music, and Valéryan Echoes (2011) and Unexpected Affinities: Modern American Poetry and Symbolist Poetics (2018), as well as co-editor of several edited collections on Stevens and special issues of The Wallace Stevens Journal. She has recently contributed a chapter, “Music of the Sea: Elizabeth Bishop and Symbolist Poetics,” to Elizabeth Bishop and the Music of Literature (Palgrave 2019).
Music and literature. --- Stevens, Wallace, --- Criticism and interpretation. --- Literature and music --- Literature --- Poetry. --- Literature, Modern --- Music --- Music theory. --- Poetry and Poetics. --- Twentieth-Century Literature. --- Contemporary Music. --- Theory of Music. --- 20th century. --- History and criticism.