scholarly journals “Unusual, Gentle Sensory Stimuli”: A Psychoanalytical Path to the Early Aesthesis of Hans Werner Henze

2007 ◽  
Vol 43 (2) ◽  
pp. 251-263
Author(s):  
Christian Bielefeldt
Keyword(s):  
Early Music ◽  
Sensory Stimuli ◽  
Music Aesthetics ◽  
The 1950S ◽  
Musical Communication

Musicology and psychoanalysis still face each other strangely. Yet, there are quite fruitful initiatives for dealing with musical phenomena from a psychoanalytical perspective, as this article tries to show with the example of the early music aesthetics of Hans Werner Henze. Led by the Lacanian model of imaginary-symbolic-real, Henzes texts from from the 1950s are read in a way in which the aesthetics “of a free, wild sound” is linked to the requirement of music being communicative. Musical communication is understood thereby differently as in the later, politically engaged phase of Henze. It is still understood as an excessive moment of the conventional auditive signs, in which listener dissolves the traditionally fixed senses. With Lacan, this situation of hearing may be described as a musical representation of the ‘I’, which is fundamentally more unstable than linguistic self-representations, leading consequently toward an enjoyment as a condition of temporary self-loss.

Scelsi, Giacinto (1905–1988)

2018 ◽  
Author(s):  
Eric Drott
Keyword(s):  
Musical Training ◽  
Twelve Tone ◽  
Early Music ◽  
Avant Garde ◽  
Piano Lessons ◽  
The 1950S ◽  
To Come ◽  
The Way

Giacinto Scelsi was an Italian avant-garde composer best known for the single-note style he developed during the 1950s and 1960s, which minimizes harmonic and melodic activity in order to allow microtonal fluctuations and subtle transformations in timbre, intonation, dynamics, and articulation to come to the fore. Although his works were little known and infrequently performed during his lifetime, they gained considerable acclaim in the 1980s. Scelsi’s œuvre has proven extremely influential, and is generally regarded as a precursor to the spectral movement. Many of the elements of Scelsi’s biography remain uncertain, due in part to the composer’s penchant for self-mythologization. His family belonged to the southern Italian nobility, and it was in their ancestral chateau in Irpinie that Scelsi’s interest in music first manifested itself. He had little in the way of formal musical training, apart from receiving private piano lessons in his youth. Scelsi spent much of the 1920s and 1930s abroad, principally in France and Switzerland. It was during this period that he composed his first pieces, most notably Rotativa for pianos, strings, brass and percussion (1930). His early music was stylistically eclectic, embracing post-impressionist, neo-classical and twelve-tone idioms at various points in his life.

scholarly journals PETER MAXWELL DAVIES IN THE 1950S: A CONVERSATION WITH THE COMPOSER

Tempo ◽  
2010 ◽  
Vol 64 (254) ◽  
pp. 11-19 ◽  
Author(s):  
Nicholas Jones
Keyword(s):  
Classical Music ◽  
Early Music ◽  
Compositional Technique ◽  
Indian Classical Music ◽  
The 1950S ◽  
Peter Maxwell Davies

The 1950s was a particularly important decade for Peter Maxwell Davies. It was the period when he established the fundamental elements of his compositional technique; the decade in which he composed his first acknowledged works; and a time, coinciding with his emergence as a composer of substance, when he travelled to Darmstadt, Paris and Rome. It was also the period that witnessed the publication of two of his own articles, and the decade in which his interest in early music – particularly plainchant – and Indian classical music began to influence his own compositional thinking and resulting works.

Thomas Goff, Four Harpsichords, J.S. Bach and the Royal Festival Hall

2018 ◽  
Vol 49 ◽  
pp. 50-67
Author(s):  
Victoria Rogers
Keyword(s):  
Twentieth Century ◽  
Musical Life ◽  
Early Music ◽  
Historical Authenticity ◽  
The 1950S ◽  
Early Music Movement ◽  
Post War ◽  
The Uk ◽  
First Time

During the 1950s and 1960s in London, in the Royal Festival Hall, an unusual series of concerts took place. These concerts stood apart from the usual offerings in London's post-war musical life. What they offered was early music, principally J.S. Bach's concertos for two, three and four keyboards, played not on the piano, as had hitherto been the case, but on the harpsichord. This article documents, for the first time, the facts, and the implications, of the Royal Festival Hall concert series: how it came about; the repertoire; the performers; and the performances. The article concludes that the Royal Festival Hall concerts were notable in the evolution of the early music movement in the UK, deepening its reach to a broader audience and nurturing an awareness of an issue that was increasingly to gain traction in the later decades of the twentieth century: the idea of historical authenticity in the performance of early music.

Rethinking the 1950s

2013 ◽  
Author(s):  
Jennifer A. Delton
Keyword(s):  
The 1950S

On the Individual

1999 ◽  
Vol 4 (4) ◽  
pp. 205-218 ◽  
Author(s):  
David Magnusson
Keyword(s):  
School Psychologist ◽  
Real Life ◽  
Psychological Research ◽  
Developmental Research ◽  
Future Directions ◽  
The 1950S ◽  
The Individual ◽  
Over Time

A description of two cases from my time as a school psychologist in the middle of the 1950s forms the background to the following question: Has anything important happened since then in psychological research to help us to a better understanding of how and why individuals think, feel, act, and react as they do in real life and how they develop over time? The studies serve as a background for some general propositions about the nature of the phenomena that concerns us in developmental research, for a summary description of the developments in psychological research over the last 40 years as I see them, and for some suggestions about future directions.

Heart Rate Variability, Homeostasis, and Brain Function

2012 ◽  
Vol 26 (4) ◽  
pp. 178-203 ◽  
Author(s):  
Francesco Riganello ◽  
Sergio Garbarino ◽  
Walter G. Sannita
Keyword(s):  
Heart Rate ◽  
Heart Rate Variability ◽  
Vegetative State ◽  
Communication Disorders ◽  
Affective States ◽  
Experimental Conditions ◽  
Cardiovascular Research ◽  
Sensory Stimuli ◽  
Additional Information ◽  
Brain Injured

Measures of heart rate variability (HRV) are major indices of the sympathovagal balance in cardiovascular research. These measures are thought to reflect complex patterns of brain activation as well and HRV is now emerging as a descriptor thought to provide information on the nervous system organization of homeostatic responses in accordance with the situational requirements. Current models of integration equate HRV to the affective states as parallel outputs of the central autonomic network, with HRV reflecting its organization of affective, physiological, “cognitive,” and behavioral elements into a homeostatic response. Clinical application is in the study of patients with psychiatric disorders, traumatic brain injury, impaired emotion-specific processing, personality, and communication disorders. HRV responses to highly emotional sensory inputs have been identified in subjects in vegetative state and in healthy or brain injured subjects processing complex sensory stimuli. In this respect, HRV measurements can provide additional information on the brain functional setup in the severely brain damaged and would provide researchers with a suitable approach in the absence of conscious behavior or whenever complex experimental conditions and data collection are impracticable, as it is the case, for example, in intensive care units.

Diaries of Mad Housewives: On Gender Role and Schizophrenia in the 1950s

1989 ◽  
Vol 34 (5) ◽  
pp. 490-491
Author(s):  
Anthony Schuham
Keyword(s):  
Gender Role ◽  
The 1950S
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