24 resultados para Viola and piano music


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Few works within the realm of the piano repertoire have amassed a reputation as formidable as Gaspard de la Nuit. These three pieces, each unique in character and pianistic requirements, arguably represent a pinnacle of early 20th-century French piano music. This paper seeks to illuminate points for consideration for the pianist who wishes to embark upon studying the work for performance, and for the musicologist.

I shall first consider the three character poems of Aloysius Bertrand that inspired the suite, as an understanding of these Diabolic creations is essential to understanding the piece analytically and programmatically. I shall then explore the subtitle of Bertrand’s Gaspard de la Nuit: ‘Fantaisies À La Manière De Rembrandt Et De Callot’, as an acknowledgement of these artists helps us better to engage with Bertrand’s poetry, and provides us with a direct link to the visual stimuli for Ravel’s compositions.

Finally, using Ondine as a case study, I shall explore how the composer unifies his inspirations to paint a musical portrait of both the character and the content of Bertrand’s poem. I shall focus on three particular aspects of Ravel’s style: the refined textures that create washes of watery colour, subtle rhythmic variations that imply the ‘deep, rolling currents of the sleeping lake’, and the simple melodic lines sung by the water nymph in the manner of a French air. Each element plays its part in the thematic development that illustrates Ondine’s seductive powers.

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Four sole-authored entries in this Encyclopedia under the titles "Belfast", "Music and Politics," and "Traditional Music Revivals" and "Traditional Music, Aesthetics" totalling 6000 words.

I also served on the Editorial Advisory Committee for this Encyclopedia.

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This article introduces the recent sound works of Heidi Fast, a Finnish voice and performance artist. Fast’s creative practice operates between art and philosophy, and articulates several ‘zones of becoming’: what Fast designates as ‘the clinical’, ‘the virtual’ and ‘vocal thought-material’. Using a methodology of routing, the article shows how these zones emerge as aesthetic, ethical and political concerns within Fast’s work. Since 2005, Fast’s sound works have variously taken shape as miniature concerts, social sculptures, imaginary soundscapes and environmental music performances. Drawing upon the writings of theorists who have helped shape her practice, this article argues that Fast uses sound and voice to propose an ‘actualising philosophy’. This philosophy actualises virtualities (unrealised potentials), affecting transformative shifts through tiny mutations in perceptions and behaviours.

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This article adopts an ecological view of digital musical interactions, first considering the relationship between performers and digital systems, and then spectators’ perception of these interactions. We provide evidence that the relationships between performers and digital music systems are not necessarily instrumental in the same was as they are with acoustic systems, and nor should they always strive to be. Furthermore, we report results of a study suggesting that spectators may not perceive such interactions in the same way as performances with musical instruments. We present implications for the design of digital musical interactions, suggesting that designers should embrace the reality that digital systems are malleable and dynamic, and may engage performers and spectators in different modalities, sometimes simultaneously.

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A description of the uses of computer-generated noise in my instrumental scores and guided improvisations.

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A replicated field plot experiment was carried out in Northern Ireland in 1996 with flax, cv Ariane, and linseed, cv Flanders, each grown at seed rates of 500, 1000 and 1500 seeds/m(2), in which a comparison was made between netting of the standing crop, following desiccation by the trimesium salt of glyphosate (Touchdown, Zeneca Ltd.), and water or dew retting of the pulled crop. Application at 4 litres/ha on 9 August, 33 days after the mid-point of flowering (MPF), achieved both desiccation and partial retting of the crop within 14 days. Over 16 % clean long fibre was extracted by scutching the stand-netted flax straw, yielding 800 kg/ha fibre, while water retting achieved 20 extraction and 980 kg/ha yield and dew netting 8.5 % and 420 kg/ha respectively. The dew retting was uneven, resulting in high losses during fibre extraction, while water retting for 7 days at 25 degreesC did not achieve complete retting resulting in a high content of woody fragments in the fibre. Fibre yields increased by almost 50 % with the high v. low seed rate. Linseed was less well retted than flax and contained higher levels of impurity in the extracted long fibre which, after retting, yielded 120 to 310 kg/ha at extraction rates of 2.9 % to 7.5 %.

In a second experiment in 1998 flax cvs. Viola and Evelyn were treated with the timesium salt of glyphosate at rates of 2, 4 or 6 litres/ha 10, 20, 30 or 40 days after MPF on 5 July. Viola desiccated satisfactorily at all spray dates with 4 and 6 litres/ha glyphosate. The 20-day treatment desiccated more slowly than the 30-day and the 2 litres/ha rate did not achieve complete desiccation, but the trimesium salt of glyphosate achieved better desiccation at this timing than that found in earlier studies with the original form of glyphosate. Evelyn desiccated more slowly and less evenly than Viola particularly at the 20-day and 40-day timings. Spraying at MPF + 10 days interrupted early development of the seed and fibre significantly reducing yields. Due to slower desiccation the 20-day timing was no better than the 30-day, which was well retted by harvest 44 days after spraying, and gave the highest yield of clean long fibre. The spraying 40 days after MPF was considered too late in the season to be of practical use. It was concluded that retting of standing flax following desiccation with the trimesium salt of glyphosate was more effective than with the earlier formulation and that resting of the standing crop could achieve equivalent or better retting with similar fibre yields to traditional retting methods. The optimum spray timing was found to be about 30 days after MPF with 4 or 6 litres/ha, the lower rate being adequate for glyphosate responsive varieties such as Viola.

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Music has always been used as an important dramaturgical strategy in Western theatre to create a holistic theatrical experience. In Shakespeare’s plays, music was employed as a unique dramaturgical device for various purposes. Twelfth Night distinguishes itself from among the many plays that employ music because it begins, ends and progresses with music. Music pervades Twelfth Night and is tightly interwoven into the thematic concerns of the play such as love and gender. Because of music’s elusive nature and the difficulty of discussing a musical aesthetics, Shakespearean music critics have approached music in the play as a theme or an idea. This paper hopes to develop upon older scholarship by introducing an alternate framework of considering music’s musicality through a musicological analysis of the songs in Twelfth Night. In so doing, the paper hopes to show how and why music can modulate our responses to the play and in particular, to the theme of gender, a problematic issue that produces the elusive and darker nature of this festive comedy.

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This paper takes an historical look at the development of now popular Irish dance tunes which originated in or passed through the song tradition. It discusses the role of what I have termed ‘intermediaries’ which bridge the gap between the song and dance music traditions, allowing repertoire to flow between these two tributary streams of the modern tradition. I will discuss the under-investigated practice of lilting, which I will argue has acted as an important intermediary between the dance and song traditions, particularly in the eighteenth century. before going on to discuss some examples of songs and dance tunes which have a more complex relationship.

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‘Canzone d’autore’ is the name that a vast community of Italian music critics, authors, per-formers, producers agreed upon in the mid-1970s, to describe the Italian singer-songwriter genre. Singer-songwriters, who had been missing from Italian popular music – with very few exceptions – until the late 1950s, had become increasingly popular after 1958, and were dubbed ‘cantautori’ in 1960. The term, which propagated to Spain, Catalonia, and Latin Amer-ica, is still in use, but ‘canzone d’autore’ superseded it as a genre label, highlighting the con-nections between authorship and artistic value, implied in the already established notion of ‘Cinéma d’auteur’ from which it was derived.

The expression ‘entechno laiko tragoudi’ (‘art-folk song’) was coined in Greece by Mikis The-odorakis in the 1950s, to describe a new music genre combining the urban-folk musical idi-om with lyrics coming from high-art poetry. Although the origins of the genre are tied to the work of composers like Theodorakis and Hatzidakis who did not perform as singers, from the 1970s onwards entechno became the privileged field of new generations of Greek singer-songwriters. Dropping ‘laiko’ (folk) from its label, entechno expanded its musical influences outside the urban-folk repertory and transformed into the more all-encompassing contempo-rary ‘art song’.