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11	Rire obscène, esthétique grotesque et imaginaires carnavalisés chez les premières avant-gardes musicales françaises : le cas d'Erik Satie Meunier, Jordan 08 1900 (has links) Ce mémoire explore les territoires esthétiques de la culture populaire dans l’imaginaire carnavalisé du compositeur d’avant-garde Erik Satie (1866-1925). L’interprétation de l’arrière-texte de la poétique compositionnelle de Satie proposée par cette étude interroge le caractère iconoclaste des symboles associés à la scène des divertissements « légers ». Par les thèmes, genres, tropes et topoï qu’elle privilégie, l’œuvre musicale de Satie se situe au confluent du « savant » et du « vulgaire ». En portant un regard attentif aux créations « mineures » de Satie pour la scène populaire à Montmartre, ce travail cherche à définir les rapports antinomiques opposant les représentations, attitudes et valeurs promues par la culture « officielle » à l’attachement iconoclaste de Satie aux univers du « bas-social », du grotesque et de l’obscène. Les chahuts intempérants de Satie au cabaret artistique, au music-hall et au café-concert, au même titre que la revendication subversive par le compositeur des potentialités esthétiques offertes par le jeu et l’humour vernaculaires, prolongent le geste de résistance littéraire et artistique contre-culturel de la bohème fin-de-siècle. En visant une compréhension sémantique des enjeux discursifs qui accompagnent historiquement la représentation du populaire – cet « Autre » profanant, repoussoir de l’élite bourgeoise –, ce mémoire appréhende la portée démocratique du rire matérialiste populaire de Satie, principale figure tutélaire des premières avant-gardes modernistes parisiennes au tournant du XXe siècle. / This thesis aims to explore the aesthetic territories of popular culture within the avant-garde composer Erik Satie’s (1866-1925) carnavalized imagination. This study provides an interpretation of the subtext of Satie’s poetics of composition that questions the use of symbols associated with ‘light’ entertainment as means of protest. The themes, genres, tropes and topoï that Satie’s works invoke place them at the intersection of ‘learned’ and ‘vulgar’ culture. By paying close attention to Satie’s ‘minor’ works created for Montmartre’s popular establishments, this thesis seeks to define the antinomic relationship that opposes ‘official’ culture’s promoted representations, attitudes and values to Satie’s iconoclastic penchant for the imaginary spaces of the ‘low-class’, the grotesque and the obscene. Satie’s uproarious contributions to cabaret artistique, music-hall and café-concert, as well as the composer’s subversive exploration of the aesthetic potential of playfulness and vernacular humor, find echoes in the literary and artistic counter-cultural acts of resistance in Bohemian fin-de-siècle circles. Based on a semantic understanding of the discursive issues historically surrounding the representation of the popular as a degrading ‘Other’ by the wealthy bourgeois elite, this thesis appraises the democratic scope of Satie’s materialistic popular laughter, which serves as one of the main influences for the first Parisian modernist avant-garde movement at the turn of the twentieth century. Erik Satie Poétique musicale Syncrétisme Imaginaire carnavalisé Musiques populaires Paris Bohème fin-de-siècle Cabaret Music-hall Café-concert Poetics of composition Syncretism Carnavalized imagination Popular music
12	Beyond Traditional Perspective: The Solo Piano Waltz in the Twentieth Century HSIEH, CHENG-FENG 27 August 2008 (has links) No description available. Music solo piano waltz the twentieth century waltz Maurice Ravel Erik Satie George Gershwin Francis Poulenc Aaron Copland Ross Lee Finney Arnold Schoenberg William Alwyn Morton Gould Eduard P&252 tz Robert Helps
13	Ambient musik : En undersökning om spatial musik som klingande arkitektur / Ambient Music : Investigating spatial music as sounding architecture Milveden, Jens January 2022 (has links) ”Ambient Music”, established and described by its ”creator” Brian Eno, has become a term with a wide range of uses - as generative music, in sound- and audiovisual art installation, a mediated ”sound” of a genre through albums and artists to plug in to during your daily walk - as well as any imaginable association with the term connected to public, spatial or virtual ambience. Through the liner notes of the genres original albums (Ambient 1: Music For Airports of 1978, and to some extent Discreet Music of 1975) it is clear though that the original idea is more related to listening to your own spatial awareness as a form of music rather than a following of certain sounds and conventions that the term has been associated with. At the time as a sonic alternative to conventional background music of public spaces. The author suggests that these ideas never would have surfaced if it wasn’t for the earlier ideas of Erik Satie and John Cage, whose sonic frameworks and instructions beyond the traditional music sheet were vital for Eno to create generative canvases of sounding art for the spaces. The paper then focuses on consolidating the term ”Ambient Music” with its frameworks in art and function by deconstructing it between spatial, architectonic usage and as a mediated genre of a ”sound”, via virtual generative music - and back again, via its original description of enhancing environments ”acoustic and atmospheric idiosyncracies”. With Eno’s original thesis in mind the paper continues to explore where ”Ambient Music” (through arguably its sub-genre, ”Spatial Music”) is today, as well as looking at the potential futures for the genres’ artistic functions as an established and accepted sonic element of physical architecture and public spaces. This exemplified by building a bridge between ”Ambient Music” and the modern ”non-ambient” sonic scenographer, ”Spatial Music”-artist Mareike Dobewall, for further discussions on sound art as sounding architecture - a potential future for the Ambient label. Sonic Spatial Ambient Architecture John Cage Brian Eno Dobewall Erik Satie Music Soundscape Generative Music For Airports Furniture Music Indeterminacy Ambience Space Acoustics Sound Installation Audiovisual Atmosphere Landscape Muzak Background Music Musica Mundana Voicelanding Phenomenology Spatial Ambient Arkitektur Musik John Cage Brian Eno Dobewall Erik Satie Musica Mundana Voicelanding Ljudlandskap Generativ Möblemangsmusik Indeterminism Ambiens Rumslighet Akustik Installation Ljudinstallation Audiovisuell Atmosfär Landskap Muzak Bakgrundsmusik Fenomenologi Musicology Musikvetenskap
14	Tanztheater und filmische Ästhetik. Cineastische Einflüsse und Gestaltungsweisen in den Kompositionen für die Ballets Suédois 1920–1925 Kolb, Fabian 29 October 2020 (has links) The central role that avant-garde music and dance theatre played in the interplay and synthesis of the arts and media in the 1920s, particularly in Paris, is well known. However, the creative potential of ballet has hardly been recognized in its manifold relationships with film and cinematic-inspired expression. The extent to which especially ballet music interacted with the latest cinematographic principles and techniques and referred to cinematic aesthetics in a variety of ways can instructively be seen regarding the productions of the Ballets Suédois. This is discussed in this article with an exemplary look at Les Mariés de la Tour Eiffel (1921), Within the Quota (1923), Skating Rink (1922) and Relâche (1924). By that it becomes clear that the transmedia inclusion of cinematographic ideas not only inspired the vocabulary of avant-garde dance and modern choreography, but was also distinctively reflected in the conception and composition of film-affected music. info:eu-repo/classification/ddc/780 ddc:780

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