scholarly journals CHALLENGING THE WORK CONCEPT: METAPHOR, EMBODIMENT AND STRUCTURE IN MUSIC ANALYSIS

2021 ◽  
Author(s):  
◽  
Fleur Jackson
Keyword(s):  
Significant Role ◽  
Emotional Experience ◽  
Music Analysis ◽  
Musical Analysis ◽  
Concrete Object ◽  
Violin Concerto ◽  
Violin Sonata ◽  
Embodied Experiences ◽  
Work Concept

<p>Metaphorical depictions, embodied experiences, and by extension structures within the music, are distinct between performances of both the same works and across works of different styles.  Traditional forms of musical analysis focus on the score as a discrete, concrete “object”, replete with meaning and fully representative of the composer’s intentions. As a result, performance has been treated as inessential and not recognized for its significant role in the co-creation of music and its ability to generate meaning. This research examines performative differences through close listening in recent recordings of Bach’s Violin Sonata No. 1 in G Minor BWV 1001, Beethoven’s Violin Sonata No. 7 in C Minor Op. 30 No. 2, and the Sibelius Violin Concerto Op. 47 in D Minor. With regard for the effects of metaphor, embodiment and structure, it shows how interpretive decisions within performance have profound implications on our emotional experience and perception of the music, well beyond what is notated in the score.</p>

scholarly journals CHALLENGING THE WORK CONCEPT: METAPHOR, EMBODIMENT AND STRUCTURE IN MUSIC ANALYSIS

2021 ◽  
Author(s):  
◽  
Fleur Jackson
Keyword(s):  
Significant Role ◽  
Emotional Experience ◽  
Music Analysis ◽  
Musical Analysis ◽  
Concrete Object ◽  
Violin Concerto ◽  
Violin Sonata ◽  
Embodied Experiences ◽  
Work Concept

<p>Metaphorical depictions, embodied experiences, and by extension structures within the music, are distinct between performances of both the same works and across works of different styles.  Traditional forms of musical analysis focus on the score as a discrete, concrete “object”, replete with meaning and fully representative of the composer’s intentions. As a result, performance has been treated as inessential and not recognized for its significant role in the co-creation of music and its ability to generate meaning. This research examines performative differences through close listening in recent recordings of Bach’s Violin Sonata No. 1 in G Minor BWV 1001, Beethoven’s Violin Sonata No. 7 in C Minor Op. 30 No. 2, and the Sibelius Violin Concerto Op. 47 in D Minor. With regard for the effects of metaphor, embodiment and structure, it shows how interpretive decisions within performance have profound implications on our emotional experience and perception of the music, well beyond what is notated in the score.</p>

Digitale Musikanalyse mit den Techniken der Music Encoding Initiative (MEI) am Beispiel von Kompositionsstudien Anton Bruckners

2021 ◽  
Vol 71 (4) ◽  
pp. 366-378
Author(s):  
Agnes Seipelt ◽  
Paul Gulewycz ◽  
Robert Klugseder
Keyword(s):  
Harmonic Analysis ◽  
Music Analysis ◽  
Digital Music ◽  
Markup Language ◽  
Musical Analysis ◽  
Musical Work ◽  
Musical Notation ◽  
Digital Edition ◽  
Current State ◽  
Computer Technologies

Studying the harmonic structures of a musical work and exploring its origins is one of the main tasks of traditional musicology. Since the advent of computer technologies, new tools for musical analysis emerged to gain new perspectives on well-known compositions. In the field of digital musical editions, the markup language MEI (Music Encoding Initiative) plays a prominent role for encoding musical notation with a musicological demand. This paper presents the current state of the project "Digital Music Analysis with MEI using the Example of Anton Bruckner's Compositional Studies". Its aim is to encode the "Kitzler Study book" written by Bruckner and to present it in a digital Edition. Also, the project explores the capability of MEI for an automatic or half-automatic harmonic analysis.

scholarly journals Valency–Actuality–Meaning: A Peircean Semiotic Approach to Music

2017 ◽  
Vol 142 (2) ◽  
pp. 401-443
Author(s):  
Ben Curry
Keyword(s):  
Internal Structure ◽  
Significant Role ◽  
Music Analysis ◽  
Social Forces ◽  
Pragmatic Approach ◽  
Cultural Contexts ◽  
Semiotic Approach ◽  
Peircean Semiotics

ABSTRACTPeircean semiotics has retained a place in the study of music for more than 40 years. Few studies, however, have focused upon arguably the most important aspects of Peirce's thought: his contribution to logic and his development of a pragmatic approach to epistemology. This article develops a theory of Peircean semiotics in music that is rigorously derived from the key insights Peirce offered to philosophy. It focuses upon his theory of the proposition and posits an approach to music analysis that is sensitive to the importance of music's internal structure while recognizing the enormously significant role played by cultural contexts and social forces in the development of musical meanings. The article introduces Peircean semiotics and develops a theory of musical valency with particular reference to the Allegro of Mozart's ‘Prague’ Symphony. It concludes by theorizing the role of cultural and ideological forces in articulating and saturating a music's valency.

scholarly journals ‘A small cemetery’: death and dying in the contemporary British operating theatre

2019 ◽  
Vol 46 (3) ◽  
pp. 278-287 ◽  
Author(s):  
Agnes Arnold-Forster
Keyword(s):  
Emotional Experience ◽  
Death And Dying ◽  
Surgical Care ◽  
Operating Theatre ◽  
Contemporary History ◽  
Patient Death ◽  
Narrative Device ◽  
Embodied Experiences ◽  
History Of ◽  
Oral History Interviews

Surgeon Henry Marsh begins his autobiography, Do No Harm, with a quotation from the French practitioner René Leriche, “Every surgeon carries within himself a small cemetery, where from time to time he goes to pray—a place of bitterness and regret, where he must look for an explanation for his failures”. This article uses memoirs and oral history interviews to enter the operating theatre and consider the contemporary history of surgeons’ embodied experiences of patient death. It will argue that these experiences take an under-appreciated emotional toll on surgeons, but also that they are deployed as a narrative device through which surgeons construct their professional identity. Crucially, however, there is as much forgetting as remembering in their accounts, and the ‘labour’ of death has been increasingly shifted out of the operating theatre, off the surgeons’ hands and into the laps of others. The emotional costs of surgical care remain understudied. Indeed, while many researchers agree that undergoing surgery can be a troubling emotional experience for the patient, less scholarly attention has been paid to the emotional demands performing surgery makes on surgical practitioners. Is detachment the modus operandi of the modern surgeon and if so, is it tenable in moments of emotional intensity—like patient death?

Pietro Antonio Locatelli

2022 ◽  
Keyword(s):  
Instrumental Music ◽  
Severe Illness ◽  
Chamber Works ◽  
Violin Concerto ◽  
Concerto Grosso ◽  
Violin Sonata ◽  
Orchestral Works ◽  
Santa Cecilia ◽  
The City ◽  
Santa Maria

Pietro Antonio Locatelli (b. Bergamo, 1695–d. Amsterdam, 1764) was an Italian composer and a virtuoso violinist. He started his career in his hometown, among the violinists of the Basilica of Santa Maria Maggiore in Bergamo. In 1711 he moved to Rome, probably to study with Arcangelo Corelli, the maximum musical authority of the time. The severe illness and the death (1713) of the great master frustrated the young violinist’s plans, however. Probably Locatelli had to fall back on Giuseppe Valentini, a virtuoso violinist trained at Corelli’s school. In the meantime, Locatelli worked in many places and institutions. His first employment was with Michelangelo X Caetani, duke of Cisterna and Sermoneta and prince of Caserta; he then performed with the musical chapel of Cardinal Pietro Ottoboni and Monsignor Camillo Cybo, the latter the dedicatee of Locatelli’s Op. 1. From 1716 to 1722 he was a member of the Congregatione generale dei musici di Santa Cecilia. Locatelli was in Rome until the spring of 1723. He then started a tour that led him to the main European musical centers. In 1723 Locatelli was in Venice, where made the acquaintance of the patrician Girolamo Michiel Lini, Op. 3’s dedicatee. In 1725 he was in Mantua, where was appointed “virtuoso di camera” by Philipp von Hessen-Darmstadt. In 1727 Locatelli left Italy, never to return. He had short stays in Munich (1727), Berlin, Frankfurt, and Kassel (1728). In 1729 he moved to Amsterdam, where remained until his death. There he started to print his nine Opus numbers composed during the years of pilgrimage. Locatelli wrote only instrumental music, in the genres of concerto grosso, violin concerto, violin sonata, and trio sonata. Le Cène, Van der Hoeven, and Covens were the publishers of his orchestral works, while his chamber works were instead published at his own expense. In addition, he gave weekly private concerts, taught a few rich patricians of the city, and traded in prints, books, and musical items. Studies on Locatelli’s time, life, and works are covered in several book-length studies, a complete edition, and numerous articles.

1. Sándor Veress

Tempo ◽  
1969 ◽  
pp. 19-22
Author(s):  
János Demény
Keyword(s):  
Chamber Music ◽  
String Quartets ◽  
Violin Concerto ◽  
Mixed Chorus ◽  
Violin Sonata ◽  
Small Orchestra ◽  
Magic Flute

Sándor Veress, who was born in 1907 at Kolozsvár, a major town of Transylvania (now Cluj, Rumania), studied at the Liszt Academy of Music in Budapest, with Kodály for composition, Bartók for piano, and Lajtha for folksong research. From the age of twenty he was a prolific composer, of marked individuality—already strongly evident in the works of his first period, written in a very distinctive neo-classical contrapuntal idiom with strong national inflexions. By 1939 he had produced an impressive body of works, including two powerful and concentrated string quartets, a series of witty chamber-music sonatinas (1931–33) and the more expansive Violin Sonata No.2 (1939), a Partita for small orchestra (1936), the lyrical and poetic two-movement Violin Concerto (1937–39), a ‘Transylvanian Cantata’ for mixed chorus (1935), anda ballet The Magic Flute(1937).

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