Faust Goes Dancing

2019 ◽  
pp. 460-482
Author(s):  
Kristin Rygg
Keyword(s):  
Original Composition ◽  
Musical Scores

This chapter discusses four ballets, all based on Goethe’s Faust, created over the period 1832–48 by four leading choreographers: August Bournonville in Copenhagen, André-Jean-Jacques Deshayes in London, Salvatore Taglioni in Naples, and Jules Perrot in Milan. Each was significantly influenced by the early French Romantic ballet and the great Parisian Faust vogue of the 1820s and 1830s. Of the musical scores, only those from Copenhagen and London are extant, the former being largely a compilation. The London version, by Adolphe Adam, is an original composition treated here in some detail. The power of Adam’s music to evoke something of the variety and profundity of Goethe’s Faust as conceived by Deshayes is explored.

‘If this is Shakespeare, then I’m Virginia Woolf’

2018 ◽  
pp. 271-281
Author(s):  
L. V. Egorova
Keyword(s):  
Original Composition ◽  
Virginia Woolf

A review of the bilingual edition of the play Double Falsehood, or, The Distressed Lovers, prepared by ‘Book Centre Rudomino’. The play is supplied with three presentations: a translator’s introduction by Andrey Korchevsky, a foreword by the most renowned scholar of this highly mysterious play, Brean Hammond (he edited the play for the Arden series in 2010), and an afterword by Dmitry Ivanov, a Russian scholar of the period and translation. Is there much left of Shakespeare and Fletcher in Double Falsehood, and what exactly is it? Can one single out the earliest language stratum stemming from Cardenio? Stylistic and metric similarities aside, can one indeed recognize Shakespeare and Fletcher on the higher level of the whole work: its plot, composition, mise en scfnes, images and ideas? Does Double Falsehood preserve traces of the original composition and plotline of Cardenio? The paper is published on the eve of this extensively commented edition of Double Falsehood becoming available to Russian reading audiences and theatre practitioners.

scholarly journals Machine Learning for Dissimulating Reality

Proceedings ◽  
2021 ◽  
Vol 77 (1) ◽  
pp. 17
Author(s):  
Andrea Giussani
Keyword(s):  
Machine Learning ◽  
Language Processing ◽  
Huge Amount ◽  
Generative Adversarial Network ◽  
Adversarial Network ◽  
Technological Advances ◽  
Textual Data ◽  
Musical Scores ◽  
Mathematical Formulas

In the last decade, advances in statistical modeling and computer science have boosted the production of machine-produced contents in different fields: from language to image generation, the quality of the generated outputs is remarkably high, sometimes better than those produced by a human being. Modern technological advances such as OpenAI’s GPT-2 (and recently GPT-3) permit automated systems to dramatically alter reality with synthetic outputs so that humans are not able to distinguish the real copy from its counteracts. An example is given by an article entirely written by GPT-2, but many other examples exist. In the field of computer vision, Nvidia’s Generative Adversarial Network, commonly known as StyleGAN (Karras et al. 2018), has become the de facto reference point for the production of a huge amount of fake human face portraits; additionally, recent algorithms were developed to create both musical scores and mathematical formulas. This presentation aims to stimulate participants on the state-of-the-art results in this field: we will cover both GANs and language modeling with recent applications. The novelty here is that we apply a transformer-based machine learning technique, namely RoBerta (Liu et al. 2019), to the detection of human-produced versus machine-produced text concerning fake news detection. RoBerta is a recent algorithm that is based on the well-known Bidirectional Encoder Representations from Transformers algorithm, known as BERT (Devlin et al. 2018); this is a bi-directional transformer used for natural language processing developed by Google and pre-trained over a huge amount of unlabeled textual data to learn embeddings. We will then use these representations as an input of our classifier to detect real vs. machine-produced text. The application is demonstrated in the presentation.

Imitating Musical Scores on a Chip Through Droplet Generation

2016 ◽  
Vol 16 (6) ◽  
pp. 6318-6321
Author(s):  
Xiaoyun Shawn Yang ◽  
Soojeong Shin ◽  
Woon Seob Lee ◽  
Jong Wook Hong
Keyword(s):  
Droplet Generation ◽  
Musical Scores

Artistic Graphic Musical Scores Influenced by Tantric Art

Leonardo ◽  
1981 ◽  
Vol 14 (2) ◽  
pp. 122 ◽  
Author(s):  
Robert Donnini
Keyword(s):  
Musical Scores

Duetto a tre: Franco Alfano's completion of Turandot

2004 ◽  
Vol 16 (2) ◽  
pp. 163-185 ◽  
Author(s):  
LINDA B. FAIRTILE
Keyword(s):  
Original Composition ◽  
Ideal Solution ◽  
The Press ◽  
Final Scene ◽  
New Perspective ◽  
Musical Character

This study of the ending customarily appended to Giacomo Puccini's unfinished Turandot offers a new perspective on its genesis: that of its principal creator, Franco Alfano. Following Puccini's death in November 1924, the press overstated the amount of music that he had completed for the opera's climactic duet and final scene. In fact, Puccini's manuscripts were so disjointed that Arturo Toscanini, the conductor chosen to lead the première, drafted the reluctant Alfano to fashion them into a viable conclusion. While occupied with this assignment, Alfano spoke with the writer Raymond Roussel about his plans for the opera's completion. This long-forgotten interview, absent from previous studies of Turandot's conclusion, reveals a strategy that would inevitably fall foul of Toscanini's expectations. Rejecting Alfano's first attempt for its extensive original composition, Toscanini forced changes on the conclusion that undermine both its musical coherence and dramatic logic. I assess Alfano's original ending in light of his frustration with Puccini's sketches, as well as the generally deleterious result of Toscanini's interventions. While neither conclusion represents an ideal solution, a judicious conflation of the two versions offers the best chance of reconciling a suitable denouement with the musical character of Puccini's finished score.

scholarly journals Original composition and formation process of slab-derived deep brine from Kashio mineral spring in central Japan

2020 ◽  
Vol 72 (1) ◽  
Author(s):  
Fumitake Kusuhara ◽  
Kohei Kazahaya ◽  
Noritoshi Morikawa ◽  
Masaya Yasuhara ◽  
Hidemi Tanaka ◽  
...  
Keyword(s):  
Original Composition ◽  
Formation Process ◽  
Central Japan ◽  
Mineral Spring

Annotating Distributed Scores for Mutual Engagement in Daisyphone and Beyond

2011 ◽  
Vol 21 ◽  
pp. 51-55 ◽  
Author(s):  
Nick Bryan-Kinns
Keyword(s):  
Music Composition ◽  
Web Based ◽  
Mutual Engagement ◽  
Music Making ◽  
Musical Scores ◽  
Composition Process ◽  
Core Part ◽  
The Web ◽  
Made In

Written and drawn annotations of musical scores form a core part of the music composition process for both individuals and groups. This article reflects on the annotations made in new forms of distributed music-making wherein the score and its annotations are shared across the web. Four kinds of annotation are identified from 8 years of studies of mutual engagement through distributed music-making systems. It is suggested that new forms of web-based music-making might benefit from shared and persistent graphical annotation mechanisms.

Perceptual Processes in Orchestration

2018 ◽  
Author(s):  
Meghan Goodchild ◽  
Stephen McAdams
Keyword(s):  
Auditory Scene Analysis ◽  
Scene Analysis ◽  
Auditory Grouping ◽  
Musical Scores ◽  
Auditory Scene ◽  
Music Research

The study of timbre and orchestration in music research is underdeveloped, with few theories to explain instrumental combinations and orchestral shaping. This chapter will outline connections between the orchestration practices of the nineteenth and early twentieth centuries and perceptual principles based on recent research in auditory scene analysis and timbre perception. Analyses of orchestration treatises and musical scores reveal an implicit understanding of auditory grouping principles by which many orchestral effects and techniques function. We will explore how concurrent grouping cues result in blended combinations of instruments, how sequential grouping into segregated melodies or stratified (foreground and background) layers is influenced by timbral similarities and dissimilarities, and how segmental grouping cues create formal boundaries and expressive gestural shaping through changes in instrumental textures. This exploration will be framed within an examination of historical and contemporary discussion of orchestral effects and techniques.

Sign in / Sign up

Export Citation Format

Share Document