Von der Fuge in Rot bis zur Zwitschermaschine - Paul Klee und die Musik.

2020 ◽  
Keyword(s):  
Johann Sebastian Bach ◽  
Paul Klee ◽  
Pierre Boulez ◽  
Harrison Birtwistle

Paul Klee gehört nicht nur zu den prägendsten Malerpersönlichkeiten des 20. Jahrhunderts, sondern hatte auch eine starke Affinität zur Musik. So schrieb er unter anderem Musikkritiken, spielte als Amateur hervorragend Geige und verkehrte mit vielen Komponisten. Mit seinen Werken und seinen theoretischen Schriften wie den Unterrichtsmaterialien am Bauhaus inspiriert er bis heute zahlreiche Komponistinnen und Komponisten. Dieser Band präsentiert Texte über musikalisch beeinflusste und die Musik beeinflussende Werke Klees, insbesondere seine Beschäftigung mit Johann Sebastian Bach sowie die Rezeption seines gestalterischen Denkens im aktuellen Musikschaffen von Pierre Boulez bis Harrison Birtwistle. Bisher unbekannte Quellen, zahlreiche Abbildungen und Neuinterpretationen verhelfen dabei zu neuen Sichtweisen.

scholarly journals Sobre la dimensión sonora del paisaje. La representación del ‘paisaje sonoro’ a través de intermediarios espaciales

2018 ◽  
pp. 63-74
Author(s):  
Covadonga Blasco Veganzones
Keyword(s):  
Paul Klee ◽  
Pierre Boulez

Las teorías desarrolladas en torno a la relación entre música y dibujo por el compositor Pierre Boulez y el artista Paul Klee, ofrecen la posibilidad de plantear la exploración de lo sonoro a través de herramientas gráficas. Siguiendo sus intuiciones, para resolver los problemas que plantea la representación del paisaje sonoro, se propone el uso de intermediarios espaciales: máquinas imaginativas que permiten hacer visible la estructura de la dimensión sonora de un paisaje.La pieza Casa de la lluvia y el método de proyectar del arquitecto Juan Navarro Baldeweg sostienen la pertinencia de estos artefactos como medios necesarios para formular la definición del paisaje sonoro como espacio perceptivo, así como su aplicación para conseguir un conocimiento profundo y sensible que desemboque en una relación natural entre el individuo y el paisaje.

Lucerne Festival 2004: Harrison Birtwistle

Tempo ◽  
2005 ◽  
Vol 59 (231) ◽  
pp. 37-39
Author(s):  
Anthony Burton
Keyword(s):  
Contemporary Music ◽  
Pierre Boulez ◽  
Young Professional ◽  
Harrison Birtwistle

Among major European festivals, the Lucerne Festival is outstanding in the attention it pays to contemporary music. The latest manifestation of this is the founding of an annual Lucerne Festival Academy for young professional players, specializing in the music of the 20th and 21st centuries, under the leadership of Ensemble Intercontemporain and the indefatigable Pierre Boulez. Nor is this is on the modest scale of a ‘young Sinfonietta’: its final concert, conducted by Boulez, began with Harrison Birtwistle's massive Earth Dances.

36. Practicing medicine and music II: Ophthalmology and music

2007 ◽  
Vol 30 (4) ◽  
pp. 46
Author(s):  
L. P. Hwi ◽  
J. W. Ting
Keyword(s):  
Chamber Music ◽  
18Th Century ◽  
Johann Sebastian Bach ◽  
Active Member ◽  
Active Researcher ◽  
Silver Medal ◽  
Medical Career ◽  
The One ◽  
The University ◽  
Over 40 Years

Cecil Cameron Ewing (1925-2006) was a lecturer and head of ophthalmology at the University of Saskatchewan. Throughout his Canadian career, he was an active researcher who published several articles on retinoschisis and was the editor of the Canadian Journal of Ophthalmology. For his contributions to Canadian ophthalmology, the Canadian Ophthalmological Society awarded Ewing a silver medal. Throughout his celebrated medical career, Ewing maintained his passion for music. His love for music led him to be an active member in choir, orchestra, opera and chamber music in which he sang and played the piano, violin and viola. He was also the director of the American Liszt Society and a member for over 40 years. The connection between music and ophthalmology exists as early as the 18th Century. John Taylor (1703-1772) was an English surgeon who specialized in eye diseases. On the one hand, Taylor was a scientist who contributed to ophthalmology by publishing books on ocular physiology and diseases, and by advancing theories of strabismus. On the other hand, Taylor was a charlatan who traveled throughout Europe and blinded many patients with his surgeries. Taylor’s connection to music was through his surgeries on two of the most famous Baroque composers: Johann Sebastian Bach (1685-1750) and George Frederick Handel (1685-1759). Bach had a painful eye disorder and after two surgeries by Taylor, Bach was blind. Handel had poor or absent vision prior to Taylor’s surgery, and his vision did not improve after surgery. The connection between ophthalmology and music spans over three centuries from the surgeries of Taylor to the musical passion of Ewing. Ewing E. Cecil Cameron Ewing. BMJ 2006; 332(7552):1278. Jackson DM. Bach, Handel, and the Chevalier Taylor. Med Hist 1968; 12(4):385-93. Zegers RH. The Eyes of Johann Sebastian Bach. Arch Ophthalmol 2005; 123(10):1427-30.

La Bauhaus en la educación visual de Mathias Goeritz en México

2018 ◽  
Author(s):  
Sandra Valenzuela Arellano
Keyword(s):  
Paul Klee ◽  
Johannes Itten ◽  
Walter Gropius

Entre 1919 y 1928, maestros de la Bauhaus consideraban a la educación visual como una vía de fomento para la autoexpresión, con el fin de formar artistas-artesanos-técnicos vinculados con la sociedad. Este artículo relaciona características de la enseñanza de la educación visual de Mathias Goeritz (1915-1990) en la unam, durante los años sesenta, con las pedagogías de maestros de la Bauhaus cuando Walter Gropius fue su director. Primero describo el contexto y las características de las enseñanzas en la Bauhaus, para luego vincularlos con las dinámicas de la clase, entrevistas y textos de Mathias Goeritz. Aunque Goeritz nunca fue estudiante de la Bauhaus (nació en 1915), recibió influencia de esa escuela por medio de su amistad con Herbert Bayer y Gyorgy Kepes, su interés por las teorías pedagógicas de Johannes Itten, László Moholy-Nagy y su admiración por Paul Klee.

Etel Adnan Meets Paul Klee

2019 ◽  
Vol 1 ◽  
pp. 11-18
Author(s):  
Fabienne Eggelhöfer
Keyword(s):  
Paul Klee ◽  
Etel Adnan

Performing the Mass in B Minor in an Age of Choices

2018 ◽  
Author(s):  
Daniel R. Melamed
Keyword(s):  
Nineteenth Century ◽  
Johann Sebastian Bach ◽  
Point Of View ◽  
Performance History ◽  
History Of ◽  
Compositional History

Every performance of Johann Sebastian Bach’'s Mass in B Minor makes choices. The work’s compositional history and the nature of the sources that transmit it require performers to make decisions about its musical text and about the performing forces used in its realization. The Mass’s editorial history reflects deeply ideological views about Bach’s composition and how it should sound, not just objective reporting on the piece, with consequences for performances that follow specific editions. Things left unspecified by the composer need to be filled in, and every decision—including the choice to add nothing to Bach’s text—represents an interpretation. And the long performance history of the Mass offers a range of possibilities, reflecting a tension between the performance of a work like the Mass in Bach’s time and the tradition inherited from the nineteenth century. Every performance thus represents a point of view about the piece; —there are no neutral performances.

The Musical Discourse of Servitude

2020 ◽  
Author(s):  
Harry White
Keyword(s):  
Johann Sebastian Bach ◽  
George Frideric Handel ◽  
Cultural Significance ◽  
Imperial Court ◽  
Musical Works ◽  
Musical Discourse ◽  
Work Concept ◽  
Musical Genres ◽  
Church Service ◽  
Late Works

The Musical Discourse of Servitude examines the music of Johann Joseph Fux (ca. 1660–1741) in relation to that of Johann Sebastian Bach and George Frideric Handel. Its principal argument is that Fux’s long indenture as a composer of church music in Vienna gains in meaning (and cultural significance) when situated along an axis that runs between the liturgical servitude of writing music for the imperial court service and the autonomy of musical imagination which transpires in the late works of Bach and Handel. To this end, The Musical Discourse of Servitude constructs a typology of the late Baroque musical imagination which draws Fux, Bach, and Handel into the orbit of North Italian compositional practice. This typology depends on two primary concepts, both of which derive and dissent from Lydia Goehr’s formulation of the “work-concept” in The Imaginary Museum of Musical Works (1992), namely, the “authority concept” and a revised reading of the “work-concept” itself. Both concepts are engaged through the agency of two musical genres—the oratorio and the Mass ordinary—which Fux shared with Handel and Bach respectively. These genres functioned as conservative norms in Fux’s music (most of Fux’s working life was spent in writing for the church service), but they are very differently engaged by Bach and Handel. To establish a continuity between Fux, Bach and Handel, and between the servitude of common practice and the emerging autonomy of a work-based practice in the early eighteenth-century musical imagination are the principal objectives of this study.

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