scholarly journals The Choreomusical Page-to-Stage Approach: Visual Representations of Musical Modernism Through the Works of Igor Stravinsky and George Balanchine

2021 ◽  
Author(s):  
◽  
Eustacia Lynn Jocea Hughes
Keyword(s):  
Historical Context ◽  
Visual Representations ◽  
Igor Stravinsky ◽  
Visual Medium ◽  
Context Analysis ◽  
George Balanchine ◽  
Musical Works ◽  
Musical Modernism ◽  
Complex Relationships ◽  
Changing Attitudes

<p>The musical developments of the Modernist period provided a new understanding and approach to composition. These developments are also seen in ballet, branching into several styles, with many choreographers providing their unique take to staging musical works. In this study, the modernist choreomusical relationship is examined with respect to the possibility of a page-to-stage approach in dance. This thesis examines how this approach is manifested in the complex relationships between the composer, and the choreographer. Drawing on nine examples of modernist era ballets categorised in to three styles (classical, neoclassical, and contemporary ballets), discussion of historical context, analysis of the musical and choreographic relationship, and other ideas surrounding adapting music for a visual medium are explored.  This thesis also examines changing attitudes to music/dance relationships. Two lines of enquiry are followed, the first assesses, through the example of Stravinsky, Balanchine, and several other contemporaries, whether a page-to-stage approach exists for ballet. A supplementary enquiry explores how such an approach is manifested within different methods of choreography. This study finds that there are difficulties in applying the choreomusical page-to-stage approach to analysing changing attitudes to music/dance relationships. At another level, this study points to the benefit of incorporating the concept of diegesis in analysing the changing attitudes to music/dance relationships.</p>

scholarly journals The Choreomusical Page-to-Stage Approach: Visual Representations of Musical Modernism Through the Works of Igor Stravinsky and George Balanchine

2021 ◽  
Author(s):  
◽  
Eustacia Lynn Jocea Hughes
Keyword(s):  
Historical Context ◽  
Visual Representations ◽  
Igor Stravinsky ◽  
Visual Medium ◽  
Context Analysis ◽  
George Balanchine ◽  
Musical Works ◽  
Musical Modernism ◽  
Complex Relationships ◽  
Changing Attitudes

<p>The musical developments of the Modernist period provided a new understanding and approach to composition. These developments are also seen in ballet, branching into several styles, with many choreographers providing their unique take to staging musical works. In this study, the modernist choreomusical relationship is examined with respect to the possibility of a page-to-stage approach in dance. This thesis examines how this approach is manifested in the complex relationships between the composer, and the choreographer. Drawing on nine examples of modernist era ballets categorised in to three styles (classical, neoclassical, and contemporary ballets), discussion of historical context, analysis of the musical and choreographic relationship, and other ideas surrounding adapting music for a visual medium are explored.  This thesis also examines changing attitudes to music/dance relationships. Two lines of enquiry are followed, the first assesses, through the example of Stravinsky, Balanchine, and several other contemporaries, whether a page-to-stage approach exists for ballet. A supplementary enquiry explores how such an approach is manifested within different methods of choreography. This study finds that there are difficulties in applying the choreomusical page-to-stage approach to analysing changing attitudes to music/dance relationships. At another level, this study points to the benefit of incorporating the concept of diegesis in analysing the changing attitudes to music/dance relationships.</p>

scholarly journals "Exoticism” in the opera Gilgamesh by Rudolf Brucci in Ralph Locke’s “All the music in the full context” paradigm

Muzikologija ◽  
2013 ◽  
pp. 105-125
Author(s):  
Nemanja Sovtic
Keyword(s):  
Third World ◽  
Visual Representations ◽  
Musical Language ◽  
Musical Style ◽  
Creative Behavior ◽  
Musical Tradition ◽  
Musical Works ◽  
French Composers ◽  
The Third World ◽  
Horizon Of Expectations

In this text, Rudolf Brucci?s opera Gilgamesh is viewed in the light of Ralph Locke?s ?All the Music in the Full Context? Paradigm which promotes the approach that one should search for the exotic elements in musical works first in the discursive components (title, program, accompanying notes), visual representations (costume, scenery) and a ?horizon of expectations? of a particular culture, and only then to observe exoticism as the aspect of a musical style. In the light of this Paradigm, ?exoticism? of the opera Gilgamesh is detected at the level of the music material and compositional procedures, but not in the dramaturgical profiling of characters, narrative adaptation of the Sumerian epic, costumes and scenery. The plot, costumes and the scenery of the opera do not construct the Orient with either positive or negative projections attributed to it by the Western European Orientalist discourse, but portray Gilgamesh and Enkidu as ancient mythic protagonists on the margin of the (not-always) exoticist once/now binarism. The musical language of the opera, which abounds in the usage of oriental musical scales and citations, indicates that oriental/exotic was one of the author?s ?target levels? when conceiving and composing Gilgamesh. Brucci, however, did not build the ?ethnological model? in his opera, but gave oriental scales and ?exotic? musical citations their meaning within the Western musical tradition, which is why his approach can be compared with the ?veiled exoticism? of the French composers of the late nineteenth and the early twentieth centuries. In the light of the self/other binarism, reaching for the exotic in Gilgamesh can be presented as an auto-exotic creative behavior of Brucci as a composer who perceives his ?minority identity? in a relation to an imaginary referential system of the Center. However, I am more inclined to see Brucci?s identificational intention in his advocacy of the Yugoslav NAM (Non-Aligned Movement) project, and his dealing with the ?exotic? as part of his strategy to support cultural achievements of the Third World which predominantly participated in that project.

Apollon Musagète

2018 ◽  
Author(s):  
Nancy Reynolds
Keyword(s):  
Twentieth Century ◽  
Turning Point ◽  
Igor Stravinsky ◽  
String Orchestra ◽  
George Balanchine ◽  
Clear Cut ◽  
Ballets Russes ◽  
Look Back ◽  
The One ◽  
New Phase

Apollon Musagète, premiered by Serge Diaghilev’s Ballets Russes in 1928, and most widely known since the 1950s as Apollo, is the oldest work by choreographer George Balanchine still in active repertoire. For its age alone the ballet is significant, but it also marked a new phase in the development of Balanchine’s artistic philosophy. In 1945 he wrote, "Apollo I look back on as a turning point. In its discipline and restraint … the score was a revelation. It seemed to tell me that I could dare not to use everything, that I too could eliminate. I began to see how I could clarify … by reducing what seemed to be multiple possibilities to the one which is inevitable" (Balanchine qtd in Lederman 1975: 81). Such was Balanchine’s influence that what was a turning point for him was also a turning point for ballet in the twentieth century. The score that so influenced Balanchine was composed, by Igor Stravinsky, for a small string orchestra. Diaghilev described it as "an amazing work, extraordinarily calm, and with greater clarity than anything he has so far done, [with] filigree counterpoint [a]round transparent, clear-cut themes, all in the major key; [it is] somehow music not of this world, but from somewhere above" (Diaghilev qtd in White 1979: 342).

Casella, Alfredo (1883--1947)

2018 ◽  
Author(s):  
Peter Roderick
Keyword(s):  
Claude Debussy ◽  
Igor Stravinsky ◽  
Early Years ◽  
Entry Point ◽  
Musical Life ◽  
Letter Writer ◽  
Musical Modernism ◽  
Orchestral Musicians ◽  
Trench Warfare

Alfredo Casella was an Italian composer, the leading member of the generazione dell’ottanta who were all born in the 1880s and who turned away from Italy’s operatic tradition in favor of new musical directions. Casella’s musical life consisted of a number of phases. Born into a Torinese musical family and surrounded by orchestral musicians in his early years, a move to Paris at the age of twleve years broadened his horizons considerably, and offered him the chance to study with Fauré and absorb the heady musical life of that city. He lived there for various periods during the subsequent twenty years, and the music and acquaintance of Claude Debussy, Igor Stravinsky and Manuel de Falla ensured that Casella formed an entry point into Italy for much of Europe’s most innovative musical Modernism. Sachs writes that ‘he was polyglot, cosmopolitan, and ardently interested in European musical developments’ (1988: 134); added to this, he was a prodigious essayist and letter writer. Many works from this time are stylistically adventurous: Notte di Maggio (1913) is comparable to Debussy’s Jeux, while the Pagine di Guerra (1918) for two pianos are a harsh and dissonant reflection on the horrors of war, using cinematic images of trench warfare as their inspiration

Knowledge Sharing and Pervasive Computing

2011 ◽  
pp. 285-297
Author(s):  
Phillip W.J. Brook
Keyword(s):  
Knowledge Transfer ◽  
Knowledge Sharing ◽  
Pervasive Computing ◽  
Historical Context ◽  
Team Work ◽  
Social Aspects ◽  
To Come ◽  
Changing Attitudes ◽  
The Impact

This chapter explores the implications of knowledge sharing in an era of pervasive computing, and concludes that, perhaps counter-intuitively, people will need to come together more to establish the trust that is necessary for effective knowledge sharing. Practices such as team-work should result in closer ties between peers, and this relationship can encourage increased sharing of knowledge related to the work at hand. With the advent of pervasive computing, the question can be asked as to what the impact of this technology could/will have on the sharing of knowledge in a team situation. At the same time, the changing attitudes to how knowledge is acquired make it even more important that knowledge is acquired in its historical context, which may be best achieved by person-to-person knowledge transfer. It is argued that these social aspects will be more important in a world of pervasive computing than in conventional businesses.

scholarly journals EDITORIAL

2017 ◽  
Vol 14 (2) ◽  
pp. 179-182
Author(s):  
THIERRY FAVIER
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Historical Context ◽  
Cultural Relativism ◽  
Music Teacher ◽  
Louis Xiv ◽  
National Education ◽  
Music Department ◽  
Norbert Elias ◽  
Musical Works

Recently I was advising a small group of students who were preparing to take the national exam that would qualify them for the position of music teacher at a secondary school. One part of the exam involves a comparative commentary on three musical works relating to a topic chosen by the candidate. Everyone involved in music education in France knows that the Music Department at the National Education Ministry (Inspection Générale de la Musique) has always been concerned with combatting social and cultural inequalities, and that classical music must be presented to younger generations with the least possible chronological and historical context in the name of cultural relativism. (This remarkable ideal, filtered through each successive stage of the educational system, sometimes inspires students to write that Louis XIV ordered Lully to compose operas in order to reduce the nobility to slavery – a radical reading of Norbert Elias indeed. But this is not my topic here.)

Feminist Challenges to the Social Structure and Sex Roles

1979 ◽  
Vol 4 (1) ◽  
pp. 16-31 ◽  
Author(s):  
Helen R. Kearney
Keyword(s):  
Social Structure ◽  
Sex Roles ◽  
Historical Context ◽  
Social Structures ◽  
Social Psychological ◽  
Feminine Identity ◽  
Voluntary Childlessness ◽  
The Social ◽  
The Family ◽  
Complex Relationships

A social-psychological and historical context for understanding contemporary sex roles, fertility, parenting, and the family is provided by reviewing origins and objectives of the Women's Movement. Feminist efforts to change social structures affecting women's choice of roles and fertility require continued attention. Increased voluntary childlessness seriously challenges the concept of motherhood as central to adult feminine identity and legitimization of choice in whether or not to become a parent provides a new context for studying women, sex roles, fertility, and their complex relationships to the social structure. Continued challenges to premises, methodologies, and conclusions of such research are urged.

Women with haemophilia: more than just carriers

2013 ◽  
Vol 1 (2) ◽  
pp. 2-7 ◽  
Author(s):  
Robin Sager
Keyword(s):  
Healthcare Professionals ◽  
Historical Context ◽  
Healthcare Systems ◽  
Bleeding Disorder ◽  
Factor Ix ◽  
Medical Community ◽  
Factor Level ◽  
Access To Treatment ◽  
The World ◽  
Changing Attitudes

Abstract It is said that men have haemophilia and women are carriers, affected or unaffected. The terminology used is significant. Why it is that men are described as ‘having’ haemophilia and women with haemophilia are described as affected carriers? After all the men ‘carry’ the gene just as the women do and pass it on to their daughters. Likewise many women have Factor IX or Factor VIII levels that, if they were a man, would be categorised as mild or even in some cases moderate or severe haemophilia. Yet haemophilia is widely viewed as a condition affecting men with women as the passive vehicle for its transmission from generation to generation. There are many issues for women that are affected by this choice of terminology. Among them are their ability to access healthcare and their acknowledgement within healthcare systems throughout the world. Are women with the same factor level as men viewed in the same manner by healthcare professionals and do they acknowledge their own bleeding disorder as being the same as their male counterparts? How many women are unaware of their own bleeding disorder because they have only been viewed as ‘carriers’? Research into these issues is limited. This paper explores the aspects that affect women with haemophilia, from the definition in its historical context, obtaining a diagnosis, psychosocial elements, access to treatment, changing attitudes and acknowledgements within both the medical community and the wider community.

The sound of silence: Blank spaces, fading narratives and fragile frames in comics

2019 ◽  
Vol 10 (2) ◽  
pp. 215-233
Author(s):  
Debarghya Sanyal
Keyword(s):  
Comic Books ◽  
Graphic Novels ◽  
Visual Representations ◽  
Blank Space ◽  
Visual Medium ◽  
Theoretical Frameworks ◽  
Art Form ◽  
Printed Word

Abstract How does one translate silence onto a silent medium? Printed comic books and graphic novels are generally a non-auditory art form. This has caused them to be traditionally perceived as ‘silent’. This also means that comics artists have come up with some of the most innovative ways of translating sound to a primarily visual medium ‐ bold letters, onomatopoeic words, fading images, etc. Nonetheless, these innovations have often in fact failed to address silence. As an art form where both the blank space and the printed word acquire their own unique visual signification, is comics rather a stubbornly un-silent medium? If so, then how does one depict silence in an un-silent medium? My article addresses these questions by first examining the works of Scott McCloud, Thierry Groensteen and Barbara Postema and their study of sound in comics. I then build on these theoretical frameworks to problematize the conventional correlation of visual signifiers with sound and silence, primarily examining the use of blank space or the lack of words as a default signifier of silence. Ultimately, I will argue that comic books provide a unique transmedial approach to re-analyse our conventional ideas for visual representations of sound.

scholarly journals FIGURE: EKPHRASIS

2013 ◽  
Vol 60 (1) ◽  
pp. 17-31 ◽  
Author(s):  
Froma I. Zeitlin
Keyword(s):  
Emotional Response ◽  
Mental Image ◽  
Visual Representations ◽  
Literary Genre ◽  
Word And Image ◽  
Cultural Expectations ◽  
Figure Of Speech ◽  
Rhetorical Figure ◽  
Complex Relationships ◽  
Mode A

Ekphrasis is a slippery topic. Although included in this volume as a rhetorical figure (or figure of speech), its uses and functions far exceed this single classification. Whether defined as a rhetorical exercise, a literary genre (or mode), a narrative digression, a species of description, or a poetic (even metapoetic or meta-representational) technique, the properties associated with ancient ekphrasis are not in doubt. First and foremost are the qualities of enargeia (vividness), sapheneia (clarity), and phantasia (mental image), which, taken together, aim to turn listeners (or readers) into viewers and to evoke an emotional response through an appeal to the immediacy of an imagined presence. Yet, beyond this brief definition, the word ‘ekphrasis’ immediately ushers us into a whole set of questions regarding its intermedial status in a potential contest between verbal and visual representations, the uses of mimesis with regard to verisimilitude (reality–illusion; truth–fiction), and its cognitive, psychological, and mnemonic values in the cultural expectations of its era. It would not be hyperbole to suggest that no other rhetorical term has aroused such interest in recent years among classicists and non-classicists alike, involving aesthetic considerations, theories of vision, modes of viewing, mental impressions, and the complex relationships between word and image.

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