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321	Musikalischer Salonstil: Vernetzung von Poesie, Salonkultur und Kompositionsstil als Aspekt weiblicher Kultur Jeßulat, Ariane 22 September 2023 (has links) Der Beitrag untersucht an Hand von Fanny Hensels Lied Ich kann wohl manchmal singen die Konstruktionsprinzipien eines intertextuelles musikalischen Idioms. Dabei spielen nicht nur Vorbildkompositionen, hier Ludwig van Beethovens Klaviersonate Op. 14/2 eine wesentliche Rolle, sondern auch der kulturelle Hintergrund der Textvorlage sowie die Rezeptionsgeschichte der musikalischen Vorlage. Da sowohl Joseph von Eichendorffs Roman Ahnung und Gegenwart als auch die einschlägige Rezeption von Beethovens Klaviersonate op. 14/2 durch Adolf Bernhard Marx eine starke gendertheoretische Konnotation haben, spielt dieser Metaphernhof in die Analyse des Liedes hinein mit der Hypothese, dass Fanny Hensel vor dem Hintergrund und mit den Mitteln einer gerade in der Salonkultur gepflegten interdisziplinären Konversation einen künstlerischen Beitrag zum Gender-Diskurs der Biedermeierzeit geleistet hat. / The article examines the construction principles of an intertextual musical idiom on the basis of Fanny Hensel’s song Ich kann wohl manchmal singen. Not only do model compositions play an important role, in this case Ludwig van Beethoven’s Piano Sonata Op. 14/2, but also the cultural background of the text as well as the reception history of the musical model. Since both Joseph von Eichendorff’s novel Ahnung und Gegenwart and the relevant reception of Beethoven’s Piano Sonata op. 14/2 by Adolf Bernhard Marx have a strong gender-theoretical connotation, this metaphorical court of metaphors plays into the analysis of the song with the hypothesis that Fanny Hensel made an artistic contribution to the gender discourse of the Biedermeier period against the background and with the means of an interdisciplinary conversation cultivated especially in salon culture. info:eu-repo/classification/ddc/780 ddc:780
322	Music as sinthome: joy riding with Lacan, Lynch, and Beethoven beyond postmodernism / Joy riding with Lacan, Lynch, and Beethoven beyond postmodernism Willet, Eugene Kenneth, 1969- 28 August 2008 (has links) The films of David Lynch are full of ambiguities that derive from his habitual distortion of time, inversion of characters, and creation of ironic, dreamlike worlds that are mired in crisis. While these ambiguities have been explored from numerous angles, scholars have only recently begun to closely examine music's role in Lynch's cinematic imagination. This dissertation explores the relationship between music and fantasy through the lens of Lacanian psychoanalysis where fantasy plays a crucial role in helping psychoanalytical subjects work through their psychical crises. In particular, I look at Blue Velvet (1986), Lost Highway (1996), and Mulholland Drive (2001), showing how Lynch employs music to manage and, in the case of Mulholland Drive, move beyond the particular crises of jouissance experienced by the Characters--and also the viewers. Before engaging in my analysis of Lynch's film music, however, I begin with an extended discussion of what Kevin Korsyn describes as the current crisis of music scholarship, examining how this crisis manifests itself in recent "postmodern" interpretations of Beethoven's Ninth Symphony. Few works are invested with as much cultural capital as this one and arguably the discourse around it exhibits the crisis more acutely than any other. Korsyn restricts his analysis to the fields of musicology and music theory, but I approach the crisis of music scholarship obliquely, through my Lacanian reading of Lynch's film music. This dissertation, then, has two goals. On one hand it attempts to examine music's role in Lynch's films, and on the other, it explores how Lynch's use of music might aid us in navigating and moving beyond the institutional crises of music scholarship. This Lynchian solution to our crisis provides a glimpse of what might lie beyond postmodernism, a new philosophical movement some are calling the "New Sincerity." This term covers several loosely related cultural or philosophical movements that have followed in the wake of postmodernism, the most notable being what Raoul Eshelman and Judith Butler refer to as "performatism." Finally, I return to Beethoven's Ninth to offer a second, performative reading, demonstrating how Lynch's use of music can be translated into current musical discourse. / text Music--Historiography Mulholland Drive (Motion picture) Blue velvet (Motion picture) Lost highway (Motion picture) Clockwork orange (Motion picture) Motion pictures and music Lacan, Jacques,--1901-1981 Psychoanalysis and music Psychoanalysis and motion pictures
323	Six Odes by C.F. Gellert set by C.P.E. Bach and Ludwig van Beethoven: A Comparative Analysis, a Lecture Recital Together with Three Recitals of Selected Works by Monteverdi, Caldara, Mozart, Brahms, Mendelssohn, Ives, Honegger, and Others Seelig, Timothy 08 1900 (has links) The lecture recital was given on July 13, 1987. The discussion of the poetry by C. F. Gellert and the musical settings by C. P. E. Bach and Ludwig van Beethoven including analyses of all the pieces was followed by their performance. In addition to the lecture recital, three other public recitals were given: three of solo literature for voice and piano and one of vocal chamber literature. These included the works of Monteverdi, Caldara, Mozart, Brahms, Strauss, Mendelssohn, Ives, Honegger, Debussy, Faure", and others. All of these recitals were recorded on magnetic tape and filed along with the written version of the lecture material as a part of the dissertation. musical settings vocal performance
324	Vom Kritischen Bericht zur Kritischen Dokumentation am Beispiel der Digital-interaktiven Mozart-Edition Dubowy, Norbert 29 October 2020 (has links) A digital music edition that follows the principles implemented in the fully-digital, MEI-coded Digital Interactive Mozart Edition, pursued by the Mozarteum Foundation and the Packard Humanities Institute, has many advantages over conventional analog editions. One advantage is greater transparency, which is achieved not only at the level of the material, e. g. the inclusion of digital images of the sources, but above all by making editorial processes and decisions visible in the edition itself. In the digital edition, the Critical Report, a defining component of any critical edition and often physically separate from the edited musical text, becomes part of the overall digital code. The philological findings and editorial processes reported encompass the entire range of forms of expression, from verbal comments and annotations to pure code and non-verbal, largely visual communication strategies. Therefore, the format of the traditional printed Critical Report, which is mainly made up of text and tables, dissolves and is replaced by an immaterial, non-delimitable field of data, information, references and media for which the term Critical Documentation is more appropriate. info:eu-repo/classification/ddc/780 ddc:780
325	The Metronomic Performance Practice: A History of Rhythm, Metronomes, and the Mechanization of Musicality Bonus, Alexander Evan 14 June 2010 (has links) No description available. American History Dance Education History European History History Music Music Education Philosophy Robots Science History Technology metronome metronomic rhythm rhythmic meter tempo time movement mouvement pulse tactus rubato performance practices musicality automaton Maelzel Beethoven Dalcroze Eurhythmics pedagogy gymnastics Wundt pendulum chronography beat

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