Darla Crispin – författare
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4 produkter
4 produkter
342 kr
Skickas inom 7-10 vardagar
In New Paths, five renowned scholars discuss a variety of topics related to Romanticism, focusing especially on the years 1800–1840. In a much-needed historical and critical overview of the concept of organicism, John Neubauer ranges from its origins in Enlightenment biology to its aftermath in postmodernism. Janet Schmalfeldt shows that not only Beethoven's op.47 should be called the Bridgetower rather than the Kreutzer Sonata but also that this makes a difference as to its meaning. Scott Burnham explains extreme contrasts between emotional and mechanical types of music in late Beethoven as stagings of the limits of human subjectivity. Jim Samson discusses Chopin's little-known musical upbringing in Warsaw, arguing that his grounding in eighteenth-century aesthetics (as opposed to theory) has thus far been neglected. Finally, Susan Youens's case study of Franz Lachner's Heine songs sheds light on radical experimentation by a so-called epigone in the period between Schubert and Schumann's miracle song year.Contributors: Scott Burnham, Princeton University; John Neubauer, University of Amsterdam; Jim Samson, Royal Holloway, University of London; Janet Schmalfeldt, Tufts University; Susan Youens, University of Notre Dame
692 kr
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Questions concerning music and its inextricably intertwined and complex interface with time continue to fascinate musicians and scholars. For performers, the primary perception of music is arguably the way in which it unfolds in "real time." For composers a work appears "whole and entire," with the presence of the score having the potential to compress, and even eliminate, the perception of time as "passing." The paradoxical relationship between these two perspectives, and the subtle mediations at the interface between them with which both performers and composers engage, form the subject matter of this collection of essays. The contributors address the temporal significance of specific topics such as notation, tempo, meter, and rhythm within broader contexts of performance, composition, aesthetics, and philosophy. The aim is to present novel ideas about music and time that provide particular insight into musical practice and the world of artistic research. Contributors: Bruce Brubaker, New England Conservatory; Pascal Decroupet, University of Liege; Mark Delaere, Catholic University of Leuven; Justin London, Carleton College; Ian Pace, University College Falmouth
707 kr
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The three Mozart/Da Ponte operas offer an inexhaustible wellspring for critical reflection, possessing a complexity and equivocation common to all great humane works. They have the potential to reflect and refract whatever locus of contemporaneity may be the starting point for enquiry. Thus, even postmodern and postmillennial concerns, far from seeming irrelevant to these operas, are instead given new perspectives by them, whilst the music and the dramatic situations have the multivalency to accept each refreshed pallet of interpretation without loss of their essential character. These operas seem perennially ‘new'. In exploring the evergreen qualities of Don Giovanni and Le Nozze di Figaro, this collection of studies does not shun approaches that have foundations in established theory, but refracts them through such problems as the tension between operatic tradition and psychological realism, the co-existence of multiple yet equal plots, and the antagonism between the tenets of tradition and the need for self-actualization. In exploring such themes, the authors not only illuminate new aspects of Mozart's operatic compositions, but also probe the nature of musical analysis itself. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
781 kr
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Essential reading for anyone interested in artistic research applied to music. This book is the first anthology of writings about the emerging subject of artistic experimentation in music. This subject, as part of the cross-disciplinary field of artistic research, cuts across boundaries of the conventional categories of performance practice, music analysis, aesthetics, and music pedagogy. The texts, most of them specially written for this volume, have a common genesis in the explorations of the Orpheus Research Centre in Music (ORCiM) in Ghent, Belgium. The book critically examines experimentation in music of different historical eras. It is essential reading for performers, composers, teachers, and others wanting to inform themselves of the issues and the current debates in the new field of artistic research as applied to music. The publication is accompanied by a CD of music discussed in the text, and by an online resource of video illustrations of specific issues. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).Contributors: Paulo de Assis (ORCiM), Richard Barrett (Institute of Sonology, The Hague), Tom Beghin (McGill University), William Brooks (University of York, ORCiM), Nicholas G. Brown (University of East Anglia), Marcel Cobussen (University of Leiden), Kathleen Coessens (Vrije Universiteit Brussel, ORCiM); Paul Craenen (Director Musica, Impulse Centre for Music), Darla Crispin (Norwegian Academy of Music), Stephen Emmerson (Queensland Conservatorium, Griffith University, Brisbane), Henrik Frisk (Malmö Academy of Music), Bob Gilmore (ORCiM), Valentin Gloor (ORCiM), Yolande Harris (Center for Digital Arts and Experimental Media – DXARTS), University of Washington, Seattle), Mieko Kanno (Royal Conservatoire of Scotland), Andrew Lawrence-King (Guildhall School of Music and Drama, London, Royal Danish Academy of Music, Copenhagen, University of Western Australia), Catherine Laws (University of York, ORCiM), Stefan Östersjö (ORCiM), Juan Parra (ORCiM), Larry Polansky (University of California, Santa Cruz), Stephen Preston, Godfried-Willem Raes (Logos Foundation, Ghent), Hans Roels (ORCiM), Michael Schwab (ORCiM, Royal College of Art, London, Zurich University of the Arts), Anna Scott (ORCiM), Steve Tromans (Middlesex University), Luk Vaes (ORCiM), Bart Vanhecke (KU Leuven, ORCiM).