scholarly journals Ligeti's ‘third way’: ‘Non–atonal’ elements in the Horn Trio

Tempo ◽  
2001 ◽  
pp. 17-23 ◽  
Author(s):  
Mike Searby
Keyword(s):  
Major Elements ◽  
Musical Language ◽  
Third Way ◽  
Avant Garde ◽  
The Past ◽  
Ternary Form ◽  
Harmonic Language ◽  
As If

It is perhaps curious that only a year after this exchange took place in 1981, Ligeti completed his Horn Trio – which uses traditional ternary form, a passacaglia (although a disguised one), a strong melodic focus, and a harmonic language which contains clear triads and dominant sevenths in abundance. In spite of his assertions above, it does seem as if Ligeti, in addition to rejecting the Avant-garde, is looking to the past for major elements of his musical language.

The Garden in the Machine: Two American Avant-Garde Films and the Nineteenth-Century Visual Arts

Prospects ◽  
1997 ◽  
Vol 22 ◽  
pp. 239-262
Author(s):  
Scott MacDonald
Keyword(s):  
Nineteenth Century ◽  
Visual Arts ◽  
Film Studies ◽  
Avant Garde ◽  
The Past ◽  
Academic Fields ◽  
The Future ◽  
Historical Periods ◽  
Logical Extension ◽  
As If

One of the primary reasons I became interested in film studies was the seeming open-endedness of the field. Cinema was new, I reasoned, and would continue to be new, unlike other academic fields, and particularly those devoted to historical periods: as a scholar and a teacher, I would face the future, endlessly enthralled and energized by the transformation of the potential into the actual. That my development as a film scholar/teacher increasingly involved me in avant-garde film seemed quite natural — a logical extension of the attraction of film studies in general: Avant-garde film was the newest of the new, the sharpest edge of the present as it sliced into the promise of the future. Scholars in some fields may empathize with the attitude I describe, but scholars in all fields will smile at its self-defeating implications: of course, I can see now how typically American my assumptions were — as if one could maintain the excitement of youth merely by refusing to acknowledge the past! Obviously, film studies, like any other discipline, is only a field once its history takes, or is given, a recognizable shape.

scholarly journals LIGETI'S ‘LE GRAND MACABRE’: HOW HE SOLVED THE PROBLEM OF WRITING A MODERNIST OPERA

Tempo ◽  
2012 ◽  
Vol 66 (262) ◽  
pp. 29-38
Author(s):  
Michael Searby
Keyword(s):  
20Th Century ◽  
Musical Language ◽  
Avant Garde ◽  
The Past ◽  
Compositional Approach ◽  
Compositional Technique

AbstractLigeti's Le Grand Macabre (1974–77) is one of the most successful operas of the 20th century in terms of the number of performances. Originally, Ligeti had intended to compose an ‘anti-opera’ in the manner of Kagel's Staatstheater, but changed his fundamental compositional approach during the process of composing the work. He realised that a more traditional opera with a clear narrative (unlike Kagel's avant-garde opera) was more suitable, and it therefore became necessary for him to transform his style to one in which the text was audible to an audience. As a result there is very little of his mature micropolyphonic technique in the resulting work, but rather there is an exploration of music from the past, and the use of parody. In composing his opera Ligeti revitalised his approach through a re-engagement with history, but combined with a modernist rigour; thus he was able to create a new and fruitful musical language, and to transform his compositional technique.

SOUND, MEANING AND MUSIC-DRAMA IN LACHENMANN'S DAS MÄDCHEN MIT DEN SCHWEFELHÖLZERN

Tempo ◽  
2014 ◽  
Vol 68 (268) ◽  
pp. 20-33
Author(s):  
Laurence Osborn
Keyword(s):  
Theoretical Framework ◽  
Musical Language ◽  
Search For Meaning ◽  
Cognitive Capacities ◽  
Music Drama ◽  
Avant Garde ◽  
Unique Approach ◽  
The 1960S ◽  
Musique Concrete ◽  
Cultural Baggage

AbstractThis article argues that Das Mädchen mit den Schwefelhölzern demonstrates a unique approach to music-drama that stems from the perceptual capacities of listeners, and their desire to search for meaning in what they hear. Beginning with the claim that Das Mädchen mit den Schwefelhölzern can be viewed as the culmination of an aesthetic project begun at the point of Lachenmann's emergence as a distinctive voice of the European avant-garde during the 1960s, the article first examines two major aspects of Lachenmann's aesthetics – musique concrète instrumentale and aura – outlining a composing philosophy that has been at the heart of Lachenmann's practice throughout his career. The article claims that Lachenmann sought to establish a rejuvenated semiotics, freed from cultural baggage and tied to the perceptual and cognitive capacities of listeners. Drawing upon the studies of Naomi Cumming and Luke Windsor, it outlines a theoretical framework that takes into account this composing philosophy and its implications, applying it in analyses of various excerpts from Das Mädchen mit den Schwefelhölzern. My analysis illuminates a music-drama that forms around the interplay of internally represented images and sensations, the emergence of which is facilitated by a musical language that prepares sounds to take on certain types of meaning. The article concludes with a brief discussion of the possible implications this has for audience members.

“A composItIon wrItten wIthout creatIve lImItatIons” – Wanda Landowska and concerto for harpsichord and five instruments by ManueL de Falla (1923)

2021 ◽  
Vol 1 (15) ◽  
pp. 67-107
Author(s):  
Ines R. Artola
Keyword(s):  
Strict Sense ◽  
Sonata Form ◽  
Historical Sources ◽  
Avant Garde ◽  
20Th Century Music ◽  
The Third ◽  
Word Analysis ◽  
The Past ◽  
History Of ◽  
The One

The aim of the present article is the analysis of Concerto for harpsichord and five instruments by Manuel de Falla – a piece which was dedicated by the composer to Wanda Landowska, an outstanding Polish harpsichord player. The piece was meant to commemorate the friendship these two artists shared as well as their collaboration. Written in the period of 1923-1926, the Concerto was the first composition in the history of 20th century music where harpsichord was the soloist instrument. The first element of the article is the context in which the piece was written. We shall look into the musical influences that shaped its form. On the one hand, it was the music of the past: from Cancionero Felipe Pedrell through mainly Bach’s polyphony to works by Scarlatti which preceded the Classicism (this influence is particularly noticeable in the third movement of the Concerto). On the other hand, it was music from the time of de Falla: first of all – Neo-Classicism and works by Stravinsky. The author refers to historical sources – critics’ reviews, testimonies of de Falla’s contemporaries and, obviously, his own remarks as to the interpretation of the piece. Next, Inés R. Artola analyses the score in the strict sense of the word “analysis”. In this part of the article, she quotes specific fragments of the composition, which reflect both traditional musical means (counterpoint, canon, Scarlatti-style sonata form, influence of old popular music) and the avant-garde ones (polytonality, orchestration, elements of neo-classical harmony).

CAN JULIEN D’HUY’S COSMOGONIES SAVE US FROM YUVAL NOAH HARARI?

2021 ◽  
Vol 3 (4) ◽  
pp. 5-34
Author(s):  
Prof. Ph.D. Jacques COULARDEAU ◽  
Keyword(s):  
Short Circuit ◽  
Deep Roots ◽  
Intelligent Machines ◽  
The Past ◽  
The Future ◽  
Tv Shows ◽  
Present World ◽  
As If

Over the last two decades, we seem to have been confronted with a tremendous number of books, films, TV shows, or series that deal with the past and the present, not to mention the future, as if it were all out of time, timeless, even when it is history. We have to consider our present world as the continuation and the result of the long evolution our species has gone through since we emerged from our ancestors 300,000 years ago. Julien d’Huy is a mythologist who tries to capture the phylogeny of myths, and popular or folkloric stories that have deep roots in our past and have been produced, changed and refined over many millennia. Can he answer the question about how we have become what we are by studying the products of our past and present imagination? But confronted to the prediction of Y.N. Harari that our species will simply disappear as soon as the intelligent machines we are inventing and producing take over our bodies, brains, and minds in just a few decades, Julien d’Huy sure sounds like the antidote because at every turn in our long history we have been able, collectively, to seize the day, and evolve into a new stage in our life, both biological and mental, not to mention spirituality. Let’s enter Julien d’Huy’s book and find out the power and the energy that will enable us to short-circuit and avoid Yuval’s nightmare.

The Cultural Context of Reception:

2012 ◽  
Vol 3 (2) ◽  
pp. 38-55
Author(s):  
Riikka Korppi-Tommola
Keyword(s):  
Cultural Context ◽  
Theoretical Framework ◽  
High Expectations ◽  
Cultural Contexts ◽  
Avant Garde ◽  
Cultural Perspectives ◽  
The Past ◽  
Dance Company ◽  
Merce Cunningham ◽  
Encounter Time

Abstract The reception of the Merce Cunningham Dance Company and John Cage’s visit to Helsinki in 1964 revealed local, Finnish aesthetic priorities. In the dance critics’ texts, Cunningham’s style seemed to create confusion, for example, with its mixture of styles visà-vis avant-garde music. Music critics, mainly avant-garde and jazz musicians, had high expectations for this theatrical event. In their reviews, comparisons were made between Cunningham’s style and the productions of Anna Halprin. In this paper, I analyse the cultural perspectives of this encounter and utilize the theoretical framework of Thomas Postlewait’s pattern of cultural contexts. Additionally, I follow David M. Levin’s argumentation about changes in aesthetics. Local and foreign conventions become emphasized in this kind of a transnational, intercultural encounter. Time and place are involved in the interpretations of the past as well as later in the processes of forming periods.

scholarly journals Raupp: 50 years of neuroradiology

2011 ◽  
Vol 69 (3) ◽  
pp. 552-554
Author(s):  
Daison Nelson Ferreira Dias
Keyword(s):  
Computed Tomography ◽  
Literature Review ◽  
Search Term ◽  
Medical Residency ◽  
Residency Programs ◽  
Avant Garde ◽  
The Past ◽  
Therapeutic Techniques

OBJECTIVE: Evaluate the laboral and intellectual contributions of a founder of Brazilian Neuroradiology to the development of specialty. METHOD: Interviews were conducted with Dr. Raupp and contemporary doctors. Then we made a literature review with the Raupp search term aiming to identify those papers which included major changes in the diagnostic and therapeutic neurosurgical. RESULTS: The colleagues consulted were unanimous in recognizing the work of avant-garde and the importance of Dr. Raupp to the development of neuroradiological methods, especially in the pre-computed tomography fase. CONCLUSION: The work of Dr. Raupp was fundamental for the consolidation of Brazilian Neuroradiological School over the past five decades. He developed diagnostic and therapeutic techniques in congruence with the practices of the specialty on the global stage and he promoted education through medical residency programs.

scholarly journals Consumer's inflation expectations in Brazil

2017 ◽  
Vol 47 (3) ◽  
pp. 509-529
Author(s):  
Fernando Ormonde Teixeira ◽  
Ingrid Christyne Luquett de Oliveira ◽  
Pedro Costa Ferreira
Keyword(s):  
Forecast Accuracy ◽  
Major Elements ◽  
Inflation Expectations ◽  
Consumer Survey ◽  
Micro Data ◽  
The Past ◽  
Expectations Formation ◽  
The Media ◽  
Main Components ◽  
Media Data

Abstract This paper investigates what are the main components of consumer's inflation expectations. We combine the FGV's Consumer Survey with the indices of inflation (IPCA and government regulated prices), professional forecasts disclosed in the Focus report, and media data which we crawl from one of the biggest and most important Brazilian newspapers, Folha de São Paulo, to determine what factors are responsible for and improve consumer's forecast accuracy. We found gender, age and city of residence as major elements when analyzing micro-data. Aggregate data shows the past inflation as an important trigger in the formation of consumers' expectations and professional forecasts as negligible. Moreover, the media plays a significant role, accounting not only for the expectations' formation but for a better understanding of actual inflation as well.

Pedagogic In(ter)ventions

2017 ◽  
Author(s):  
Yvonne Hardt
Keyword(s):  
Educational Setting ◽  
Avant Garde ◽  
The Past ◽  
Group Knowledge ◽  
Institutional Aspects

This chapter investigates how working with Yvonne Rainer’s “Continuous Project–Altered Daily” in a dance educational setting gears the attention toward the importance of context, corporeal and group knowledge, and the specific skills of reenacting the scores of performances of avant-garde dance. Thus, the chapter not only allows for a wider theorization of working with the past as a performative practice, but also rereads common interpretations of Rainer’s work that so far have predominantly focused on the anti-institutional aspects; thus the chapter focuses on revealing the productive, highly cooperative, and performative knowledge that was also constitutive for Rainer’s creation processes and improvisation-based performances.

scholarly journals Other Stories: Experimental Forms of Contemporary Historying at the Crossroads Between Facts and Fictions

2018 ◽  
Vol 14 (1) ◽  
pp. 5-15
Author(s):  
Małgorzata Sugiera
Keyword(s):  
New Wave ◽  
Main Argument ◽  
Historical Discourse ◽  
Avant Garde ◽  
The Past ◽  
Academic History ◽  
The Future ◽  
Rhetorical Dimension ◽  
Hayden White ◽  
Experimental History

Summary The process of questioning the authority of academic history—in the form in which it emerged at the turn of the 19th century—began in the 1970s, when Hayden White pointed out the rhetorical dimension of historical discourse. His British colleague Alun Munslow went a step further and argued that the ontological statuses of the past and history are so different that historical discourse cannot by any means be treated as representation of the past. As we have no access to that which happened, both historians and artists can only present the past in accordance with their views and opinions, the available rhetorical conventions, and means of expression. The article revisits two examples of experimental history which Munslow mentioned in his The Future of History (2010): Robert A. Rosenstone’s Mirror in the Shrine (1988) and Hans Ulrich Gumbrecht’s In 1926 (1997). It allows reassessing their literary strategies in the context of a new wave of works written by historians and novelists who go beyond the fictional/factual dichotomy. The article focuses on Polish counterfactual writers of the last two decades, such as Wojciech Orliński, Jacek Dukaj, and Aleksander Głowacki. Their novels corroborate the main argument of the article about a turn which has been taking place in recent experimental historying: the loss of previous interest in formal innovations influenced by modernist avant-garde fiction. Instead, it concentrates on demonstrating the contingency of history to strategically extend the unknowability of the future or the past(s) and, as a result, change historying into speculative thinking.

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