Thematische Bibliographien / Music fairy-tale

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile

Auswahl der wissenschaftlichen Literatur zum Thema „Music fairy-tale“

Autor: Grafiati
Veröffentlicht am 28. Juni 2021
Zuletzt aktualisiert am 1. Februar 2022

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Zeitschriftenartikel zum Thema "Music fairy-tale"

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Kingston, Andrew. „Death and Fairy Tale“. differences 31, Nr. 2 (01.09.2020): 30–57. http://dx.doi.org/10.1215/10407391-8662160.

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The music of the spectralist composer Claude Vivier is often considered through the lens of autobiography. However, from his abandonment as an infant to the circumstances of his murder at the age of thirty-four, certain aspects of Vivier’s life also seem to resist any straightforwardly autobiographical account. Borrowing the concept of “autothanatography” from Jacques Derrida and others, this essay explores how Vivier’s works inscribe a relationship to death, to the end and impossibility of autobiography, into its very origin. I argue that such an inscription occurs prominently in Vivier’s musical and dramatic portrayals of childhood, particularly those in Kopernikus: Opéra—Rituel de mort and Lonely Child. Drawing on Kathryn Bond Stockton’s writing on queer childhood and Lee Edelman’s early essay on homographesis, I further argue that this displacement of the autobiographical in Vivier’s works is also marked by his sexuality, or, more precisely, by its spectral repercussions.
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LEVARIE, SIEGMUND. „Two Fairy-Tale Operas A Comparison“. Opera Quarterly 7, Nr. 1 (1990): 7–11. http://dx.doi.org/10.1093/oq/7.1.7.

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Rogalska-Marasińska, Aneta. „Effects of Using Musical Fairy Tales in the Classroom: Action Research in Poland“. Journal of Language and Cultural Education 6, Nr. 2 (01.05.2018): 48–70. http://dx.doi.org/10.2478/jolace-2018-0015.

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Abstract The paper concentrates on the problem of developing imagination understood as human trait and virtue. To realize the challenge educators have to face huge difficulties as a tendency to flatter the world and its inhabitants dominates and becomes more and more powerful. A musical fairy tale is presented as a valuable and effective school practice. From one side it refers to perennial human custom of listening, telling, and creating stories, fables, and sagas. They may base on real life or refer to imaginary situations. Thus creation may have various realizations, depending on personal knowledge, skills, life experience, cognitive horizon, individual interests and virtues. From the other side the idea of the fairy tale shown in the paper refers to the music and its uncountable possibilities of describing the world. Everything depends only on one’s imagination. The last part of the paper presents the effects of students’ work on musical fairy tales. Those students apart of being instrumentalists and vocalists of the Music Academy of Lodz, Poland plan to become music teachers in compulsory general education.
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Blackburn, Robert. „Zemlinsky's The Chalk Circle: Artifice, Fairy-tale and Humanity“. Revista Música 9-10 (06.12.1999): 93. http://dx.doi.org/10.11606/rm.v10i0.61755.

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This study is primarily concerned with the background to "DerKreidekreis", Zemlinsky's setting of a Chinese drama by Alfred Henschke (pen name 'Klabund', 1890-1928). This was the last of Zemlinsky's stage works to be performed during his lifetime. Indeed, it was the last to be performed anywhere (apart from a solitary production at Nuremberg in 1955) until the slow revival of interest in his music. In terms of scholarship, Horst Weber's monograph, published in 1974, was the first landmark in this process, as well as the first-ever biography and academic study of Zemlinsky in any language. Unlike Schreker, who benefitedfrom three biographies by the time he was 43, Zemlinsky was given only a special issue of the Prague music journal Auftakt for his fiftieth birthday in 1921. A year later the Universal Edition house journal Ausbruch published three short tributes to Zemlinsky as composer (by Franz Werfel) as conductor (by Heinrich Jalowetz) and as teacher (by Erich Korngold) - certainly a distinguished trio. But the general accounts of contemporary music of the time, such as those by Rudolf Louis, Oscar Bie, H. J. Moser and Adolf Weissmann either refer fleetingly to Zemlinsky or ignore him altogether.
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Blackburn, Ruth. „On Music Therapy, Fairy Tales and Endings“. Journal of British Music Therapy 6, Nr. 1 (Juni 1992): 5–9. http://dx.doi.org/10.1177/135945759200600102.

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This article opens by questioning the validity of making a close therapeutic relationship within an institution. In attempting to resolve this dilemma, it then looks at the function and nature of fairytale as a way of describing music therapy. Two analogies are used: one emphasising the facing of inner problems and conflicts, the other emphasising escape from the problems of the outer world. In conclusion, it looks at fairy tale endings in order to pose a solution for the opening question.
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Daub, Adrian. „Mother Mime: Siegfried, the Fairy Tale, and the Metaphysics of Sexual Difference“. 19th-Century Music 32, Nr. 2 (2008): 160–77. http://dx.doi.org/10.1525/ncm.2008.32.2.160.

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Abstract Richard Wagner's Siegfried constitutes something of an anomaly within the Ring cycle: the epic narrative of the Nibelungs and Valsungs grinds to a virtual halt, while two characters, Mime and Siegfried, reenact the fairy tale of the ““youth who went forth to learn what fear is.”” The fairy tale's mythic framework nevertheless reasserts itself within the fairytale enclosure in the guise of sexuality, in particular sexual difference: As Siegfried begins asking troubling questions about his paternity, Mime is thrust into the role of unitary origin, culminating in his desperate claim that he is Siegfried's ““father and mother.”” This article explores how exactly Wagner stages the tug of war between Siegfried and Mime over sexual difference, in particular in act I of Siegfried, allying different ways of conceiving descent, knowledge, and love with either the epic or the anti-epic (which Wagner associates with the fairy tale). This turns the generic struggle at the heart of Siegfried into a struggle between two kinds of families laying claim to Siegfried's paternity: the Gods of Valhalla who reproduce sexually, and the Nibelungs who are capable only of asexual reproduction of the self-same. This article argues that Wagner draws on his own speculations on sexuality, race, and history, in particular his idiosyncratic reading of Schopenhauer, to overlay this opposition not only with moral significations, but racial ones as well.
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Benson, Stephen. „Fairy-tale Opera and the Crossed Desires of Words and Music“. Contemporary Music Review 29, Nr. 2 (April 2010): 171–82. http://dx.doi.org/10.1080/07494467.2010.534925.

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Timberlake, Anicia Chung. „Brecht for Children“. Representations 132, Nr. 1 (2015): 30–60. http://dx.doi.org/10.1525/rep.2015.132.1.30.

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East German music educators developed new children’s operas on the model of Brechtian Lehrstücke to teach critical, “dialectical” thinking, a skill they considered essential for young socialists. This essay examines how the operas offered an alternative political education to the GDR’s official program of state-loyal patriotism and explores the conflicts that arose when Brecht’s theories of gestus and estrangement came into contact with the fairy tale tradition long thought to be the center of German children’s culture.
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Palaigeorgiou, George, und Christos Pouloulis. „Orchestrating tangible music interfaces for in-classroom music learning through a fairy tale: The case of ImproviSchool“. Education and Information Technologies 23, Nr. 1 (05.05.2017): 373–92. http://dx.doi.org/10.1007/s10639-017-9608-z.

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Shi, Danqing. „Cinderella Lunar Mission: Everyone Has a Chance to Set Foot on the Moon“. Leonardo 43, Nr. 3 (Juni 2010): 218–22. http://dx.doi.org/10.1162/leon.2010.43.3.218.

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The author compares the original story of Cinderella with the modern fairy tale created by the news media in covering the Apollo Program. This comparison builds the basis for the design of Cinderella Lunar Mission, a pseudo-lunar mission consisting, variously, of an installation, fake news reports, a lunar mission network game and real-world action 〈 www.cinderellalunarmission.com 〉. Inspired by Cinderella's glass slipper, the exclusive sign of her identity, Cinderella Lunar Mission examines the idea of shifting identity and ways of fabricating new fairy tales using such digital technologies as programmatic text, network games and barcode identification.
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Dissertationen zum Thema "Music fairy-tale"

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Griffin, Stephanie A. „A qualitative inquiry into how romantic love has been portrayed by contemporary media and researchers“. Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149001149.

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Dejlová, Hana. „Autorská muzikálová pohádka z pohledu hudební výchovy“. Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-434831.

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This thesis introduces two author's fairy tale musicals called Snow White and Cinderella. These musicals are intended for the early and late school-aged children. To understand the broader context and to provide for more information about this particular genre, the theoretical part discusses how musicals as a musical genre was created and then, it discusses its development, changes, forms and main features. It provides the information about the development of musicals in both the Czech Republic and abroad. Then, it elaborates on the professional musicals production for children (being the performers), again both abroad and in the Czech Republic. This is then followed by a practical part that introduces the two pieces mentioned above. It presents the information about their creation, realisation and motivation. In addition, it presents a critical analysis of their appropriateness for the child performers in light of their musical skills, abilities and the specifics of this age group while focusing on the music components of these pieces, such as melodic and harmonic aspects of the musicals, any key issues and issues of the transition from one key to another, rhythm, tempo changes and any challenges given by the dramatic expression and ability to speak other languages. The analysis was performed...
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Vilímová, Sheila. „Baletní hudba 19. a 20. století na pohádkové motivy se zaměřením na P. I. Čajkovského a S. Prokofjeva“. Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-388242.

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The title of the diploma thesis: Fairy Tale Themed Ballet Music in the 19th and 20th Century Focused on the Works of P. I. Tchaikovsky and S. Prokofiev This diploma thesis deals with fairy tale motifs in ballet music of the 19th and 20th century. It focuses mainly on fairy tale ballets of Peter Ilyich Tchaikovsky and Sergei Prokofiev. The first chapter deals with fairy tale themes in ballet on a more general level and advances to the concrete inclusion of these themes in the socio- historical context of the 19th and 20th century. The second chapter briefly deals with the development of ballet from its beginnings in the 15th century to the 18th century. This chapter chronologically describes important periods and events concerning ballet. The next chapter deals with ballet of the Romantic period and music of the 19th century in France and Denmark. Chapter four and five present the prominent ballets of Peter Ilyich Tchaikovsky, namely Swan Lake, Sleeping Beauty and The Nutcracker. Furthermore, this thesis focuses on ballet of the 20th century, those of Igor Stravinsky and mainly Sergei Prokofiev. Most of these ballets were created in cooperation with the patron of arts Sergei Diaghilev. The last part offers various activities that can be used in music lessons. KEYWORDS fairy tale motives, ballet...
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Gajdová, Magdalena. „Hudební činnosti v mezinárodních mateřských školách v Praze“. Master's thesis, 2021. http://www.nusl.cz/ntk/nusl-446300.

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This work analyses music activities of English-speaking children of pre-school age, attending international schools in Prague, following the British Curricula. The goal of this work is to develop and to validate teaching materials of musical activities, supporting children with different native languages from the language of the teaching material, those in transition period, and those with communication barriers, and to offer concrete implementation strategies for teachers of music in both Czech and international schools. The theoretical part compares Czech and British music curricula for pre-school children. It defines terms such as transition period and describes its course in Czech and international environments. Furthermore, it addresses the role of music during this stage of development and explains the concepts of project-based learning and music integration project. As theoretical underpinning for the practical portion, the work offers detailed discussion of musical factors, syllabic structure both in English and Czech language, and the variations in interpretation of musical fairy tales. The practical part describes the goals, methods, and procedures of the action research focused on the implementation of the musical fairy tale in Czech and English, as well as reflection and evaluation of...
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Bücher zum Thema "Music fairy-tale"

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Cohen, Lynn. Fairy tale world. Palo Alto, CA: Monday Morning Books, Inc., 1986.

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Sandberg, R. N. Jarpteetza / the firebird: A dramatic fairy tale with music. Cambridge, MA: Playscripts.com, 2001.

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Tomlinson, Heather. Aurelie: A faerie tale. New York: Henry Holt, 2008.

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The juniper tree, a tragic household tale: A play with music. New York: S. French, 1985.

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Cohen, Lynn. Fairy Tale World. Good Apple, 1986.

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Hill, Frank. Frank Hill: Märchenmusik (Fairy Tale Music). AMA Verlag, 2002.

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Extreme. Extreme II - Pornograffitti: A Funked Up Fairy Tale. Hal Leonard Corporation, 2001.

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Yolen, Jane. Pay the Piper: A Rock 'n' Roll Fairy Tale. Starscape, 2006.

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Inc, PC Tresures. Junior Jukebox Read Along Totebook and Music CD Fairy Tale Mixups (Number 1 of 24). PC Tresures Inc., 2006.

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Winter, Helen. 20 Xylophone Songs and Melodies + The Fairy Tale with Musical Score written using the Orff music approach. Independently published, 2018.

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Buchteile zum Thema "Music fairy-tale"

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Taruskin, Richard. „From Fairy Tale to Opera in Four Moves“. In On Russian Music, 214–22. University of California Press, 2008. http://dx.doi.org/10.1525/california/9780520249790.003.0019.

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Hutton, Rebecca, und Emma Whatman. „Music Videos and Pop Music“. In The Routledge Companion to Media and Fairy-Tale Cultures, 548–55. Routledge, 2018. http://dx.doi.org/10.4324/9781315670997-61.

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Greenhill, Pauline, und Danishka Esterhazy. „Classical Music“. In The Routledge Companion to Media and Fairy-Tale Cultures, 466–73. Routledge, 2018. http://dx.doi.org/10.4324/9781315670997-51.

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„18. From Fairy Tale To Opera In Four Moves“. In On Russian Music, 214–22. University of California Press, 2019. http://dx.doi.org/10.1525/9780520942806-020.

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Hurley, Thérèse. „Opening the door to a fairy-tale world: Tchaikovsky's ballet music“. In The Cambridge Companion to Ballet, 164–74. Cambridge University Press, 2007. http://dx.doi.org/10.1017/ccol9780521832212.016.

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Hammond, Marlé. „From Fiction to History and Back: The Tale, Its Versions and Its Afterlives“. In The Tale of al-Barrāq Son of Rawḥān and Laylā the Chaste, 1–36. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266687.003.0001.

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This chapter introduces the fictional tale by tracing its evolution from its unknown origins in what was probably the seventeenth century to its historicisation and Christianisation in the nineteenth century, to its infiltration of popular culture and the fine arts in the twentieth century. Its adaptations across various media, including literature, cinema and music, are explored. The chapter furthermore shows how the tale inscribes the endemic paradigms of the ʿUdhrī love narrative and the popular epic or sīra with the western model of the damsel-in-distress fairy tale. Finally, the chapter relates the process by which the tale becomes absorbed into Arabic culture to Yuri Lotman’s notion of the ‘boundary’ as the site of artistic innovation and the creation of new genres.
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McManus, Laurie. „The Temptation of Opera“. In Brahms in the Priesthood of Art, 127–58. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190083274.003.0005.

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This chapter explores opera—established as the antithesis of musical priesthood—as a site of debate over musical sensuality including the gendered discourse on opera and the critique of purity in those composers who, in Wagner’s words, “failed” to write opera with their “chaste and innocent hands.” A generation of revolutionary music critics, including Rudolf Benfey and Ludwig Eckardt, applied these Wagnerian values to Brahms with negative results, depicting purity as his weakest characteristic. Brahms’s own potential libretti and styles of opera in the 1860s and 1870s seem to explore alternatives to the Wagnerian Gesamtkunstwerk, from genres such as the oratorio to Singspiel, and topics including Carlo Gozzi’s eighteenth-century fairy-tale plays. Two of Brahms’s works from this period, the Op. 57 Daumer lieder and Op. 50 Rinaldo, contain dramatic and erotic elements that inspired some contemporaries to hope Brahms would take the next step toward an opera.
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„Girls’ Voices, Boys’ Stories, and Self-Determination in Animated Films since 2012“. In Voicing the Cinema, herausgegeben von Robynn J. Stilwell, 127–48. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043000.003.0008.

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Since its first feature, Snow White (1937), Disney musical films have often centered on the coming-of-age experiences of young girls; however, the reliance on fairy tale models has often meant a highly conservative structure in which the girl “is won” rather than “wins.” The modern rebirth of the Disney musical with The Little Mermaid (1989) prefigures the 1990s rise of stories of girls’ finding their voices (both literal and metaphorical), often based on literary sources or true stories. In these films, music has a significant narrative role, since the “journey” is so often inward and therefore difficult to portray in image and action. Brave (2012) and Frozen (2013) build on traditional inward/spiraling “girl” storytelling tropes by doubling them with more external, linear “boy” trajectories. In both, two female characters orbit each other along their journeys. Brave is a sense-and-sensibility tale in which Merida already has a strong sense of self, and she and her mother learn from each other and bond (established with parallel songs at beginning and end). In Frozen (loosely based on Hans Christian Andersen’s The Snow Queen), the elder of the two royal sisters was originally written as a villain; after the songwriters delivered “Let It Go,” they report that the producers’ response was that “Elsa could no longer be a villain.” The emotive power of the song had deformed the narrative and dominates the film’s reception. The younger Anna rescues Elsa to rescue their kingdom; however, the price is the symbolic palace of selfhood that Elsa constructs during the extended prolongation of the song’s bridge. “Let It Go” is also in a line of showtunes from “Nobody’s Side” from Chess to “Defying Gravity” from Wicked, all associated with singer Idina Menzel and sharing musical traits that suspend the tonic between the dominant and subdominant poles, blurring harmonic drive, and giving the voice particular agency. “Let It Go” is the simplest of these, sitting well in even untrained voices, making it particularly gratifying for the many young girls who sing along to the movie and, in astonishing numbers, on YouTube.
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