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.

Smell and Taste in Art: Suggestions towards a Systematic Approach

2020 ◽  
pp. 151-175
Author(s):  
Christian Dieter Sauer
Keyword(s):  
Literature Review ◽  
Intellectual History ◽  
Contemporary Art ◽  
Systematic Approach ◽  
Theoretical Background ◽  
Sense Perception ◽  
Main Body ◽  
Starting Point ◽  
Temporal Aspects ◽  
Different Levels

The reflections outlined in this paper on smell and taste in modern and contemporary art are divided into three larger chapters: an introductory literature review is followed by a general discussion of sense perception in terms of philosophy, physiology, and intellectual history; and this forms the backdrop for the main body, in which eight different approaches to olfactory and gustatory art are proposed. These categories take different levels as their starting point: for instance, they illuminate the significance of smell and taste as materialities, they address aspects of the process of perception, they posit questions concerning the affect of smell and taste, they consider spatial and temporal aspects, and they discuss the relation between perception and knowledge. The main body of the paper is concerned with these categories and their respective theoretical background, also providing concrete examples of relevant works of art.

Introduction: Locating global contemporary art in global China

Above Sea ◽  
2019 ◽  
pp. 1-25
Author(s):  
Jenny Lin
Keyword(s):  
Twentieth Century ◽  
Cultural Capital ◽  
Contemporary Art ◽  
Cultural Revolution ◽  
Rapid Growth ◽  
Art And Design ◽  
Rigorous Model ◽  
The City ◽  
Radical Transformation

The introduction argues that the global turn in contemporary art has been limited by overly generalized cultural categorizations and inadequate coverage of the local social, economic, political, and historical contexts of non-Western artworks. In response, the author posits an urban-focused, historically grounded, and theoretically rigorous model of disciplinary diversification that foregrounds key examples of art and design created in and about Shanghai. The city is described as an exemplary case study with which to localize global contemporary art, accounting for Shanghai’s longstanding “East-meets-West” mythology and genealogy stemming from its early twentieth century semi-colonial past and radical transformation during the Cultural Revolution (1966-76). The introduction acknowledges how Republican Shanghai has been recognized by scholars as a modern cultural capital with its own unique Shanghai style, haipai (literally sea style), and proposes that we must also consider the city’s art and design of the 1990s-2000s, the period of Shanghai’s most rapid growth as an international financial and cultural capital.

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.

Remediating the New Media

2020 ◽  
pp. 120-141
Keyword(s):  
Cultural Studies ◽  
New Media ◽  
Media Studies ◽  
Contemporary Art ◽  
Film Theory ◽  
Theoretical Background ◽  
Media Production ◽  
Art Theory ◽  
Film And Video

By applying the researching devices of media studies, art theory, film theory, philosophy, and cultural studies as a theoretical background, this chapter aims to explore the role of remediation in new media production, where the digital procedures enable smooth interaction, remixes, mashups, and hybridization. Remediation brings the dynamics into the institution of contemporary art and electronic literature by stimulating traditional and new media to refashion each other and generate novel hybrids at the intersection of several media (e.g. animated digital textuality which refashions film and video) as well as media contexts. Although the key reference of this chapter is Bolter and Grusin's theory of immediacy, hypermediacy, and remediation, the issues of post-remediation theory are addressed as well.

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.

scholarly journals Mykola Bidenko’s poetry: typology and idiography

2021 ◽  
Vol 27 (1) ◽  
pp. 1-6
Author(s):  
Roman Tkachenko
Keyword(s):  
Contemporary Art ◽  
Future Research ◽  
Problem Statement ◽  
Avant Garde ◽  
First Approximation ◽  
The Future ◽  
The Subject ◽  
The Aesthetic ◽  
Definition Of ◽  
Artistic Heritage

The relevance of the selected inquiry is in the need for urgent understanding of the ways of Ukrainian literature development, in particular, of poetry development, at the turn of the 20–21th centuries. It is no secret that art recreates the spiritual atmosphere of the time, but even more valuable is its ability to respond to subtle changes in the mood of contemporaries and form a spiritual picture of the future. In this sense, the study of contemporary art will be useful not only to literary critics. The subject of research is the typological and idiographic parameters of M. Bidenko’s poetry, its immediate artistic context, unique features of poetics, education and ideological and thematic direction. We understand the problem statement as an attempt to outline the first approximation of the role and place of M. Bidenko’s creative heritage in the context of Ukrainian literature of the late 20 — early 21th centuries. The study used mainly typological method, as well as principles of hermeneutics in the interpretation of key images. The purpose of this article is to outline the aesthetic and typological parameters of the artistic heritage of M. Bidenko, its unique features and features, consistent with the artistic context, based on the analysis of formal means and conceptual principles. As the result of the study Bidenko’s poetry is outlined mainly in the aesthetic coordinates of avant-garde and belongs to the environment of the Kyiv school of poets (verlibre, autotheliality of the word, avoidance of rhetoric, etc.), but in worldview he is more radical, skeptical and paradoxical than “kyivans.” In our view, Bidenko's dominant reception is a paradox. Pain as one of the key images of Bidenko's poetry, is metaphysical. Against such pain, the poet invented a “cure of death.” We see the novelty of this exploration in the definition of the dominant technique and our own interpretation of key images in Bidenko’s poems. Promising for future research are the nature of Bidenko’s verlibrium, features of the author's syntax or the nature of visual flavor.

Training Methods With Clinicians and Students—A Personal Story and Change: Narrative Therapy for Stuttering

2008 ◽  
Vol 18 (1) ◽  
pp. 37-42 ◽  
Author(s):  
Margaret Leahy
Keyword(s):  
Narrative Therapy ◽  
Evidence Based Practice ◽  
Theoretical Background ◽  
Evidence Based ◽  
Training Methods ◽  
Sense Of Control ◽  
Case Description ◽  
General Outline ◽  
Personal Story ◽  
Fluency Disorders

Abstract Educating students and informing clinicians regarding developments in therapy approaches and in evidence-based practice are important elements of the responsibility of specialist academic posts in universities. In this article, the development of narrative therapy and its theoretical background are outlined (preceded by a general outline of how the topic of fluency disorders is introduced to students at an Irish university). An example of implementing narrative therapy with a 12-year-old boy is presented. The brief case description demonstrates how narrative therapy facilitated this 12-year-old make sense of his dysfluency and his phonological disorder, leading to his improved understanding and management of the problems, fostering a sense of control that led ultimately to their resolution.

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