scholarly journals Philology as a systematic method of documentation and its application to the study of Constança Capdeville’s musical works

2020 ◽  
pp. 64-78
Author(s):  
Filipa Magalhães
Keyword(s):  
New Music ◽  
Comparative Approach ◽  
Systematic Method ◽  
Transdisciplinary Approach ◽  
Digital Resources ◽  
Human Interactions ◽  
Digital Documents ◽  
New Meanings ◽  
Musical Works ◽  
Musical Heritage

The advent of new music technologies has led to a rapid growth of the audio preservation field. Music is not independent of its medium, and this growing loss of independence calls for a transdisciplinary approach with a strong technological component. Musical compositions created in the second half of the twentieth century exist in the intersection of technology, embodiment, and sound and thus widen the importance of aspects such as human and non-human interactions. This article will reflect on these issues and how they reframe (digital) philology methods through the works of Constança Capdeville. The works by this seminal artist are accompanied by an extensive archive that includes scores, recorded sounds, video and images, among other documents. It will be demonstrated how a reflexive approach to digital philology can bring concealed archival stories to light while fostering new meanings on what it means to preserve our sound heritage. Resource optimisation is one of the reasons methods of traditional philology are particularly useful for the preservation of contemporary musical heritage. Today the amount of information is excessive, and categorisation and organisation are complex. Most information exists in the form of digitised documents, that comply with certain requirements traditionally applied to secular paper registers while assessing qualities such as reliability and authenticity. Traditional philology approaches framed around these qualities are insufficient for born-digital documents. A reflexive approach to digital philology, focussed both on the creation of digital resources (from digitalisation to cataloguing) and the criticism of digital sources, as a solution the digital treatment of documents is proposed. A comparative approach will be used to understand in what ways digital and analogue media intertwine in the forms we think, reflect, historicise, and preserve our sound archives, and how we make visible aspects that were previously concealed through new forms of categorising and digitising documents.

BINARY COMPOSITION

Tempo ◽  
2020 ◽  
Vol 74 (293) ◽  
pp. 14-18
Author(s):  
Alexander Schubert
Keyword(s):  
Subject Matter ◽  
New Music ◽  
Pop Music ◽  
Binary Composition ◽  
Personal Significance ◽  
Compositional Approach ◽  
Musical Works ◽  
Life Itself ◽  
The Way

AbstractThis article outlines and elucidates the methods used in my compositional work. I often find it impossible to limit my compositional approach to core theorems and describe them succinctly; my procedure and methodology often comprise opposing poles. As multi-polarity is a decisive criterion of my work, this specific dichotomy of methods and motivations is the overriding subject matter of this text. These characteristics also constitute my temperament, which is why I often perceive my pieces as very personal. This is not – at least not primarily – meant emotionally or subjectively, but in the way tasks, situations, musical works, or life itself are approached. I will examine numerous contradictory couplings within my work and explain their personal significance: Seriousness vs. Humour/Irony, Organism vs. Virtuality, Pop Music vs. New Music, Conception vs. Intuition, Expressivity vs. Introversion, and Technology vs. Romance.

scholarly journals The “Cairé” and “The Ghost of Komat” Textual Landscapes and Cultural Heritage in Argentinean and Slovenian Folktales

2021 ◽  
Vol 24 ◽  
Author(s):  
Maria Palleiro
Keyword(s):  
Cultural Heritage ◽  
Present Article ◽  
Comparative Approach ◽  
New Meanings ◽  
Local Contexts ◽  
Narrative Patterns ◽  
Universal Pattern

The present article proposes a comparative approach to Argentinean and Slovenian tales that share thematic features with ATU 326 (“The youth who wanted to learn what fear is”) from the standpoint of the fictional construction of verbal landscapes. The comparison is oriented to identifying similar narrative patterns dealing not only with thematic tale types but also with structural and stylistic features, along with changing details. The thematic, structural, and stylistic features common to different versions conform to a narrative matrix, which acts as a pretext to be recreated in diverse narrative contexts. The changing details give new meanings to universal pattern connected with the cultural heritage of different local contexts, such as the Argentinean and the Slovenian ones.

scholarly journals Salvatore Sciarrino’s music at the Beethoven Festival in Bonn: actualization of the classical heritage in conteporary art projects

2021 ◽  
Vol 23 (23) ◽  
pp. 209-223
Author(s):  
Polina Kordovska
Keyword(s):  
Contemporary Art ◽  
Theoretical Background ◽  
Problem Statement ◽  
Classical Text ◽  
Cultural Training ◽  
Musical Works ◽  
Cultural Connotations ◽  
German Composer ◽  
Musical Heritage ◽  
Radical Transformation

Problem statement. Contemporary art space creates special conditions for the functioning of the classical musical heritage. The principle of the classics, which results in the formation of certain ideas about the criteria of the “reference” work and the ways of interaction with it undergoes a radical transformation. The turn of the XX and XXI centuries became a time of experiments, including experimental dialogues of the contemporary artists with the classical artistic artifacts. The relevance of the study is due to the growing scientific interest in the specifics of the implementation of contemporary art projects. The scientific novelty of the article is connected with the attempt to analytically comprehend the process of actualization of classical musical works in the conditions of the modern artistic environment. Theoretical Background. In the context of our study, the views of P. Sloterdijk (1986) on the autonomy impossibility of the classical text and the study of U. Eco (1986), focused on the dynamism of the artistic universe of the postmodern era and the multiplicity of its possible interpretations, are recognized as the most essential. Objectives. The purpose of this study is to reveal the specifics of the actualization of classical heritage in contemporary art projects (based on “Quando ci risvegliamo” by S. Sciarrino, presented at the Beethoven Festival in Bonn, 2015). Results and Discussion. The specifics of creative rethinking of L. van Beethoven’s works, done by contemporary European composers (S. Sciarrino, H. Dufourt, V. Tarnopolsky, B. Lang, E. Poppe) during the European cycle of the Beethoven Festival (2015–2019) are analyzed. The content of the multi-layered work “Quando ci risvegliamo” by S. Sciarrino’s is revealed as it is caused by the allusions to Fantasia for piano, soloists, choir and orchestra Op. 80 by L. van Beethoven and the symbolic drama “Når vi døde vågner” (“When We Dead Awaken”) by H. Ibsen. The interaction between the texts takes place on a structural, symbolic and semantic levels. The space of silence on the imaginary border of sleep and awakening, modeled by S. Sciarrino in “Quando ci risvegliamo”, builds cross-cultural connotations, appealing at the same time to the work of the German composer and the Norwegian playwright. Conclusions. The conclusion on the actualization of the classical text in the conditions of the modern art environment at the expense of employment of other classical texts is made. It is noted that the appropriate level of cultural training and experience in perception of artistic texts, expected from the hypothetical recipients, should allow them to perceive the cultural and artistic connotations of the new work, which are included in the hypertext of postmodernism.

Specificity of performance and intonation of clavier works of the Baroque era

2021 ◽  
pp. 107-115
Author(s):  
Anastasiya Y. Maryatch
Keyword(s):  
Approximate Model ◽  
Piano Performance ◽  
Theoretical Justification ◽  
Performance Culture ◽  
Baroque Music ◽  
Musical Works ◽  
Baroque Era ◽  
The Subject ◽  
Stage Development ◽  
Musical Heritage

We analyze the specifics of performance and intonation clavier works of the Baroque era. An approximate model of the system for mastering the art of intonation of Baroque clavier music is given. The complex of expressive means of works for the Baroque clavier is analyzed. The subject of the research is the process of performance and intonation of Baroque clavier works. The purpose of the research is a scientific and theoretical justification of the system of mastering the culture of performance and intonation of Baroque clavier works. The relevance of the research is that there is a need to study the musical heritage of the Baroque era, preserve and continue the traditions of performing Baroque music, and search for innovative approaches to its development. The research methodology was based on the analysis of the results of experimental work on the research topic; comparative analysis and systematization of the main provisions of the intonation and style approach to the development of the musical heritage of the Baroque era. As a result of this research, a system is formulated and the need for stage-by-stage development of the piano performance culture-intonation of musical works of the Baroque era is confirmed. It is concluded that mastering the art of performance and intonation of clavier works of the Baroque era involves mastering the specifics of reading the musical text of clavier works, mastering the complex system of musical and expressive means of the Baroque era, the art of performing melisms. The field of application of the results obtained is the practical activity of a teacher-musician.

scholarly journals Pendekatan Restorative Justice dalam Penyelesaian Tindak Pidana di Tingkat Penyidikan

2019 ◽  
Vol 8 (4) ◽  
pp. 549
Author(s):  
I Made Tambir
Keyword(s):  
Law Enforcement ◽  
Restorative Justice ◽  
Criminal Law ◽  
Justice System ◽  
Comparative Approach ◽  
Legal Research ◽  
Systematic Method ◽  
Change Factors ◽  
Community Expectations ◽  
Research Show

As the gateway to the criminal justice system, law enforcement that carried out by polri always influenced by social change factors. In accordance with the development of law today, polri required to be able to resolve criminal acts by prioritizing restorative justice approach. However it hasn’t been regulated in statutory. The research purposes to describe and analyze the settlement of criminal acts with restorative justice approach in investigation level at the present and the future. The research used normative legal research, using a statute approach, historical approach and comparative approach, using primary and secondary legal materials that collected by a systematic method and then analyzed by descriptive and interpretation techniques. The research show that polri has carried out several policies to answer the community expectations and demands in accordance with the development of law today by issuing several letters and regulations, namely Surat Kapolri No. Pol. B/3022/XII/2009/Sde Ops, ST Kabareskrim No. ST/110/V/2011, STR Kabareskrim No. STR/583/VIII/2012, Perkap 15/2013, Perkap 3/2015, SE Kapolri No. SE/7/VII/2018 and SE Kapolri No. SE/8/VII/2018. In perspective of “ius constituendum,” it is needed criminal law policy to regulate the settlement of criminal acts with restorative justice approach in investigation level, by carrying out a renewal of material criminal law, including the understanding of criminal acts, objectives and guidelins for criminal actions and also renewal of formal criminal law including updating KUHAP, Perkap 14/2012 and Perkap 3/2015. Sebagai pintu gerbang sistem peradilan pidana, penegakan hukum yang dilakukan polri selalu dipengaruhi oleh faktor perubahan sosial. Dalam perkembangan hukum dewasa ini, polri dituntut mampu menyelesaikan tindak pidana dengan mengedepankan pendekatan restorative justice. Akan tetapi hal itu belum diatur dalam peraturan perundang-undangan. Penelitian ini bertujuan untuk mendeskripsikan dan menganalisis pendekatan restorative justice dalam penyelesaian tindak pidana di tingkat penyidikan pada saat ini dan pada masa yang akan datang. Metode penelitian yang digunakan adalah jenis penelitian hukum normatif, menggunakan pendekatan perundang-undangan, pendekatan kasus, pendekatan historis, pendekatan perbandingan dan pendekatan konsep, dengan menggunakan bahan-bahan hukum primer dan bahan-bahan hukum sekunder yang dikumpulkan dengan metode sistematis yang selanjutnya dianalisis dengan teknik deskriptif dan interpretasi. Hasil penelitian menunjukkan bahwa polri telah melakukan beberapa kebijakan untuk menjawab harapan dan tuntutan masyarakat sesuai dengan perkembangan hukum dewasa ini dengan menerbitkan beberapa surat dan peraturan, yaitu Surat Kapolri No. Pol. B/3022/XII/2009/Sde Ops, ST Kabareskrim No. ST/110/V/2011, STR Kabareskrim No. STR/583/VIII/2012, Perkap 15/2013, Perkap 3/2015, SE Kapolri No. SE/7/VII/2018 dan SE Kapolri No. SE/8/VII/2018. Dalam perspektif ius constituendum diperlukan kebijakan hukum pidana untuk mengatur penerapan konsep restorative justice dalam penyelesaian tindak pidana di tingkat penyidikan, dengan melakukan pembaharuan hukum pidana materiil, mencakup pengertian tindak pidana, tujuan dan pedoman pemidanaan, serta melakukan pembaharuan hukum pidana formil, mencakup pembaharuan KUHAP, Perkap 14/2012 dan Perkap 3/2015.

scholarly journals Reception of the Warsaw Autumn Festival in Lithuania: Cultural Discourse and Political Context

2017 ◽  
Vol 14 (1) ◽  
pp. 75-90 ◽  
Author(s):  
Rūta Stanevičiūtė
Keyword(s):  
Cold War ◽  
New Music ◽  
Cultural Discourse ◽  
Comparative Approach ◽  
Mutual Understanding ◽  
Political Factors ◽  
Music Scenes ◽  
The Cold War ◽  
Changing Role

Abstract This article aims to offer a broader understanding of the Lithuanian reception of the Warsaw Autumn festival in relation to the modernisation of national music in Lithuania since the late 1950s – early 1960s. Based on a micro-historical and comparative approach to the network of individuals and events, it is intended to explore the shifts of reception through analysis of musical criticism, composers’ work and discourse, and artistic exchange between the Lithuanian and Polish new music scenes. The author discusses the cultural and political factors which affected the changing role of the Warsaw Autumn festival and its impact on the modernisation processes in Lithuanian music. In addition, the asymmetries of mutual understanding and interests between the Polish and Lithuanian music cultures have been highlighted both during the Cold War and the post-communist transformation periods.

scholarly journals Do Musical Works Contain an Implied Listener? Towards a Theory of Musical Listening

2010 ◽  
Vol 135 (S1) ◽  
pp. 5-18 ◽  
Author(s):  
John Butt
Keyword(s):  
New Music ◽  
The West ◽  
Western Modernity ◽  
Cultural Boundaries ◽  
Musical Works ◽  
Universal Element ◽  
Broad Array ◽  
Musical Listening ◽  
Diverse Cultures

ABSTRACTThis study presents the sketch of a theory of musical listening based on historical considerations of the role of music in Western culture. A universal element of musical listening might lie in the notion that all music is the product of a fundamental human capacity to hear, harnessed in countless ways by diverse cultures. Secondly, there is the type of music, covering very broad historical and cultural boundaries, that presupposes attentive listening or even a participating audience; this is perhaps the simplest and most familiar category, at least in the West. Finally, there is the range of music that might contain an ‘implied listener’, something which I suggest is much more elusive, with specific historical and cultural boundaries within Western modernity. While this sense of the implied listener – someone developing the sense of a consistent and unitary self over time – is understandable today and might well still be employed in a broad range of new music, I would suggest that it now reflects only one way of being human among an alarmingly broad array of choices.

scholarly journals Ivan Jevtic’s musical universe at a crossroads of traditional and new music expression. Tendencies of changes on the example of selected works of the concert genre

Muzikologija ◽  
2017 ◽  
pp. 219-237
Author(s):  
Olivera Nikolic
Keyword(s):  
Comparative Analysis ◽  
20Th Century ◽  
New Music ◽  
Compositional Techniques ◽  
Musical Expression ◽  
Concert Music ◽  
Complete Development ◽  
Musical Heritage

Our interest in the position and significance of the concert music of Ivan Jevtic in the development of this genre in the Serbian music of the second half of the 20th century is based on several facts. Judging from the number of concerts and the variety of their stylistic, aesthetic, technical, expressive and historical qualities, Jevtic comes across as a composer who was the pioneer of several particular and general tendencies in the development of Serbian concert music, especially when we have the following in mind: his relationship to the musical heritage; his aspirations to master new contemporary tendencies; the time of general stylistic turmoil; compositional techniques etc. The comparative analysis of three concerts: Concerto for Tuba, Cello Symphony and Concerto for Viola points to the basic elements of traditional heritage, his reshaping of this heritage, as well as the elements of modern musical expression in the works of this composer. The analyzed paths of a part of his entire oeuvre do not exemplify the complete development of the concert genre in the Serbian music of the second half of the 20th century but, alongside with other important aspects such as historical, aesthetic, technical etc. they assist us in a better understanding of the tendencies in the development of this genre in Serbia, but also of the tendencies in Serbian music after 1945.

HOFFMANN'S MUSICAL MODERNITY AND THE PURSUIT OF SENTIMENTAL UNITY

2018 ◽  
Vol 15 (1) ◽  
pp. 9-28 ◽  
Author(s):  
CRAIG COMEN
Keyword(s):  
New Music ◽  
Religious Practices ◽  
Social Relevance ◽  
Modern Music ◽  
Contemporary World ◽  
Musical Works ◽  
Social Upheaval

ABSTRACTAround 1800 a group of critics worried that new music was in danger of losing its social relevance. In their eyes music had become severed from the religious practices which had formerly provided its purpose and now exhibited a mercurial style that threatened its intelligibility, leading to a host of anxieties about its role in the contemporary world. This article argues that these concerns form the basis of an elegiac discourse of musical modernity, one resonating with broader philosophical concerns of the period. Taking Hoffmann's ‘Alte und neue Kirchenmusik’ as the central text, my narrative explores how he and others sought to rehabilitate modern music in the wake of a perceived social upheaval. This rehabilitation chiefly occurred at the hands of critics, who approached the complexities of new musical works by attempting to elucidate them through analysis. Hoffmann's review of Beethoven's Fifth Symphony belongs in this narrative as a characteristic attempt to secure new music's meaning.

scholarly journals Musical Thinking and Composing Technique in Terms of Computer Technology Development

2021 ◽  
pp. 82-85
Author(s):  
Kong Ziwei
Keyword(s):  
Computer Technology ◽  
Social Life ◽  
Comparative Research ◽  
Technology Development ◽  
New Music ◽  
Musical Language ◽  
Creative Processes ◽  
Musical Works ◽  
Musical Thinking ◽  
General Scientific

Determining the place of music computer technology in modern history requires a thorough consideration of musical processes and factors of the first half of the XX century, as well as the study of relevant discoveries, concepts and experiments in terms of new music technologies. The purpose of the article is to identify the patterns of development of musical art in relation to modern social life, appeal and thorough study of music of different styles and eras in their systemacity. The methodological basis of the study are dialectical and systemic methodologies used in the field of cultural studies. General scientific and logical methods of analysis, synthesis, induction and deduction, historical and comparative research of the problem are used. The historical evolution of musical instruments is deeply connected with the creative processes that take place in the fields of composition, acting skills, musicology and education. This led to the search and improvement of musical language, enrichment of compositional methods, techniques and means of texture of musical works and, as a consequence, the birth of electronic instruments.

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