Que la réflexion du compositeur sur la technique et l’histoire des règles de l’écriture musicale constitue une pratique de soi, l’exercice d’une subjectivation qui suspend normes et pouvoirs du dehors, les déplace, les informe autrement, crève l’écran de l’écriture, et institue, dans la pratique compositionnelle, un sujet de l’écriture, une subjectivité autonome, c'est-à-dire musicale — voilà ce qu’il faut entendre par politique de l’écriture musicale. Que la musique génère des puissances capables d’anéantir tous les écrans qui s’interposent entre l’œuvre et l’auditeur, qu’un sujet de l’écoute soit fabriqué dans un faire corps rituel avec la musique, voire qu’un homme nouveau, une humanité régénérée surgissent d’un laboratoire sacré de l’écoute — voilà ce qu’il faut entendre par politique de l’écoute musicale. Deux compositeurs que cette question travaille ; deux dates pour la circonscrire et la problématiser. Pierre Boulez en 1950, ou comment un degré zéro de l’écriture met en crise une subjectivité cherchant dans la structure le chiffre d’une expérience radicale, fondamentale, fondatrice — homme structural devenu la variable humaine d’une prolifération qui le dépasse. Karlheinz Stockhausen ou comment ce qu’il s’est passé à New York le 11 septembre 2001 fut la plus grande œuvre d’art pour le cosmos tout entier — rêve d’une œuvre d’art totale, réveil de l’obsession de Richard Wagner, et révélation d’une expérience musicale et d’une expérience politique que seules la technologie et la marchandise mettent en œuvre. Des structures et des hymnes, des hélicoptères et des éclats, et, à la fin du parcours, un carnaval symphonique. / That reflection of the composer on the technique and the history of the rules of musical writing constitutes a practice of the self and the exercise of a subjectivation which suspends norms and powers from the outside, moves them, informs them in another way, passes through the screen of writing, and institutes, in the practice of composition, a subject of the writing, an autonomous, that is musical subjectivity — that is how one has to understand politics of musical writing. That music gathers powers capable of annihilating any screen which intervene between the work and the listener, that a subject of listening is ritually made by an identification between bodies and music, even that a new man, a regenerated humanity appear from a sacred laboratory of the listening — that is what it is necessary to listen by politics of musical listening. Two composers whom this question works; two dates to define and problematize it. Pierre Boulez in 1950, or how a writing degree zero puts into crisis a subjectivity looking in the structure for the figure of a radical, fundamental, founding experience — a structural man which becomes the human variable of a proliferation which exceeds him. Karlheinz Stockhausen, or how what it happened in New York September 11th, 2001 was the greatest work of art for the whole cosmos — dream of a total work of art, awakening of Richard Wagner's obsession, and revelation of a musical experience and a political experience which only the technology and the commodity operate.Structures and hymns, helicopters and fragments, and, at the end of the route, a symphonic carnival.

Die Schaufenster der Klassikläden füllen sich mit Richard Wagner zum Hören, Sehen und Lesen. Die Kulturinstitutionen Dresdens laden unter dem Motto „Dresden. Wo Wagner WAGNER wurde“ zu einem hochkarätigen Veranstaltungsreigen ein. Die Dresdner Musikfestspiele lassen ein bemerkenswertes Geburtstagsprogramm erklingen, die Richard-Wagner-Stätten Graupa kreieren im restaurierten Jagdschloss Graupa die fantastische Dauerausstellung „Richard Wagner und Sachsen“ und der Lehrstuhl Musikwissenschaft der Technischen Universität Dresden bietet im Rahmen eines wissenschaftlichen Symposions und einer Ringvorlesung Vorträge zum Thema „Richard Wagner und/in Dresden“. Unzählige Aktivitäten locken die Öffentlichkeit, Richard Wagner und seine Musik neu zu entdecken oder sich mit seinen wegbereitenden Ideen auseinanderzusetzen. Es „wagnert“ in allen Landen. Die Fülle an Neuerscheinungen und Highlights aus Anlass des 200. Geburtstages des Komponisten zieht viele Menschen in den Bann, ob sie Wagnerianer sind oder (noch) nicht.

Richard Wagner is one of the most important and influential composers for scholars of film music. His concept of the Gesamtkunstwerk or "total art work," which combined music, visuals and storytelling, played an indelible role in the creation of film aesthetics, especially with regard to music and sound design. Yet, Wagner's actual music has its own curious legacy in film history, in terms of how it is used to interact with a story that often bears no relation to those of Wagner's operas. This is particularly interesting with regard to the Der Ring des Nibelungen (aka "the Ring Cycle"). The Ring is his most ambitious and influential, and densest work, and perhaps the one with the greatest lingering legacy in popular culture. For example, "Ride of the Valkyries," an excerpt from Die Walküre made famous by Looney Tunes shorts and Francis Ford Coppola's Apocalypse Now, is still a frequent presence in film, television and advertising that want to evoke sounds of war and conquest--associations created more from its use in those contexts than the original opera. This thesis will examine films and television series of the last half-century that have used musical examples from the Ring in their soundtracks. Works given particular focus will include Apocalypse Now (1979), the Japanese anime series Princess Tutu (2002-2003) and Terrence Malick's historical romance The New World (2006). The examination will discern both how film media has influenced modern cultural perceptions of the original operas--and of Wagner's legacy in general--and also how said film media is itself a reflection of modern attitudes about Wagner and his masterwork.

This thesis centers around three pianos designed and/or decorated by the Victorian artist Sir Edward Coley Burne-Jones: the Priestley Piano, the Graham Piano, and the Ionides Piano. I read and interpret the Burne-Jones pianos not only as examples of the artist’s exploration of the boundaries of visual art and music, but also as reflections of the Victorian era female gender performance. Their physical forms and decorations, both designed and executed by Burne-Jones, enhance the piano as an instrument and accentuate their respective female performers. The music emanating from these pianos and the domestic space in which they inhabit prompt and contribute to the Victorian female performance of gender.

L'objectiu d'aquesta tesi doctoral és analitzar i valorar les traduccions adaptades a la música de l'obra de Richard Wagner "Die Walküre" al català. La tesi s'ha estructurat partint de les característiques sonores, tant del text original com de les traduccions. Per portar a terme aquest treball a estat necessari realitzar determinats estudis previs. Així doncs, l'estudi de contrast entre el sistema fonològic alemany i el català ens ha permès veure les similituds i les divergències entre la llengua original i la llengua meta. En relació amb les traduccions, hem comprovat que per mantenir el ritme- fidelitat obligatòria tractant-se d'una obra sotmesa a la partitura- la llengua catalana ofereix múltiples recursos lingüístics que permeten la necessària reducció sil·làbica. De totes maneres, en algunes ocasions els traductors han alterat lleugerament el text musical. Per altra part, aquests traductors han aprofitat un gran nombre d'ocasions per reproduir de manera exacta o semblant les sonoritats del text original, arribant fins i tot a crear al·literacions. El fet de que volguessin i aconseguissin reproduir la substància sonora, no va ser un obstacle per descuidar el significat del text. Així doncs, el nostre estudi posa de manifest la qualitat d'unes traduccions que ofereixen una quasi total fidelitat a la sonoritat, al ritme i a la semàntica de l'obra original. / The aim of this PhD thesis is to analyze and to value the translations adapted to the music of Richard Wagner's work "Die Walküre" into Catalan. It has been structured starting from the sound characteristics, from both the original text and also from the translations. To carry out this work certain previous studies were to be necessarily performed. Thus, the contrast study of between the German's and Catalan's phonological systems allowed to see the similarities and differences between the original language and the taget language. As regards the translations, it was verified that in order to support the rhythm- obliged fidelity considering there is music score- the Catalan language offers multiple linguistic resources allowing the necessary syllabic reduction. Occasionally, translators slightly altered music score. These translators, on the other hand, made use of countless occasions to reproduce the sonority of the original text in an exact or similar manner, going so far as to form alliterations. The fact that they were willing and managed to reproduce the sonorous substance, nevertheless, was not an obstacle to neglect the meaning of the text. Thus, this study emphasizes the quality of some translations that offer an almost entire fidelity to the sonority, rhythm and semantics of the original work.

El objeto de la presente tesis doctoral, La recepción de la obra wagneriana en el Madrid decimonónico, es realizar una “historia del efecto”, ordenando cronológicamente las interpretaciones wagnerianas (audiciones en concierto y representaciones de ópera) y los escritos de Richard Wagner (o sobre el compositor) publicados en la prensa diaria y especializada. Aunque existen algunos antecedentes aislados, la documentación parece indicar que el estrepitoso fracaso de Tannhäuser en París (1861) marca el inicio de la recepción “masiva” de la obra del compositor alemán en nuestro país. A partir de ese momento, observamos una fuerte polarización de opiniones ante la figura de Wagner, su pensamiento estético y su idea de Gesamtkunstwerk. En este sentido, se plantea un debate que cuestiona la esencia formal de la ópera, estableciéndose una contraposición de las escuelas nacionales italiana y alemana (belcanto versus wagnerismo). Sin embargo, la influencia del pensamiento krausista hará que esta discusión tenga en España características propias, proponiéndose, como solución, una ópera nacional que aúne lo universal y lo particular, lo tradicional y lo moderno. Asimismo, las controversias entre wagneristas y antiwagneristas son catalizadoras de otras querellas filosóficas, morales e ideológicas presentes a lo largo del periodo de investigación (1861-1893/94). Precisamente, en las conclusiones de esta tesis intentamos poner de relieve la dialéctica ortodoxia / heterodoxia, base de la oposición Parsifal / Nietzsche característica de la España finisecular (misticismo versus egotismo). Este debate se produce en un contexto enormemente sincrético y caracterizado por el denominado “espíritu decadentista”, marcado por el spleen, es decir, el agotamiento del modelo cultural europeo occidental.

Zugl.: Freiburg (Breisgau), Universiẗat, Diss., 2009.

This essay is an attempt to analyze, understand and reconstruct the Swedish Ballet's last work Relâche (1924) based on Richard Wagner's term Gesamtkunstwerk. Gesamtkunstverk in this case above allmeans the cross-border collaboration of artists and art forms in between, which leads according to Wagnerto a whole which is presented here as The Gesamtkunstwerk. The purpose of this essay is to take part in a work that literally no longer exist, and to try to understand itscultural-historical value. All that remains from the Swedish Ballet, is everything but the dance itself. Still we can take part of the Ballet through the artistic synthesis through innumerable collaborations shown in the sets, costumes, posters and musical compositions. I will in the analysis based on four points, try to find the tones indicating that the work is, on the basis of Wagner's definition, a Gesamtkunstwerk. The essay is also an attempt to show the innovation of this Company and to provide redress to which, according to me, is too forgotten in Swedish historiography. The thesis shows both the Swedish Ballet's historical background which includes previous works built by the same principles of collaboration presented. In this section I will also address something, according to me, important; The Swedish homophobia, mainly in the tabloids during the period in which the essay deals with, and the consequences for the company in question. Then I will analyze Relâche on the basis of the four theses, which, according to my investigation shows that the work is a Gesamtkunstwerk.

Zugl.: Berlin, Techn. Univ., Diss., 2009

Thesis (D.M.A.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 3, 2000, Sept. 17, 2001, Oct. 13, 2003, and Oct. 24, 2006. Includes bibliographical references (p. 84-89).