Academic literature on the topic 'Musicalisation'
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Journal articles on the topic "Musicalisation"
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Hennion, Antoine. "The Musicalisation of Visual Arts." Music, Sound, and the Moving Image 2, no. 2 (December 2008): 175–82. http://dx.doi.org/10.3828/msmi.2.2.13.
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Klempe, Hroar. "MUSICALISATION OF METAPHOR AND METAPHORICALNESS IN MUSIC." DANISH YEARBOOK OF PHILOSOPHY 31, no. 1 (August 2, 1996): 125–35. http://dx.doi.org/10.1163/24689300_0310111.
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Shykyrynska, O. "MUSICALISATION OF J. BUNYAN’S AND H. SKOVORODA’S LITERARY DISCOURSE." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 35 (2019): 372–84. http://dx.doi.org/10.17721/2075-437x.2019.35.36.
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The article deals with the musical space of the artistic heritage of J. Bunyan and H. Skovoroda that has many common features. The general place in the heritage of both writers is reference to solemn church or angelic singing, accompanying the scenes of triumph of the heroes. There are numerous quotations from the Bible psalms, that both writers mastered perfectly. Outplaying of the mythologemes “a man as a musical instrument” and “a world as a musical instrument” became common for both authors. Musical code is expressed in comparison with man’s features and musical sounds; assimilation of the world with a musical instrument, desire to hear “the music of spheres”. The comparison of a man’s emotional impulse with the sounds of musical instruments reveals willingness of the man of the Baroque age for the search of correspondence and for the synthesis of arts in a broad sense. Music as an art differs in the ability to reveal symbols by means of a sound, having a significant influence on the recipient. The analysis of musical component of H. Skovoroda and J. Bunyan’s work demonstrates its precise orientation on musicalisation of writers’ discourse. In the meantime musical theme is represented much wider in Skovoroda’s work than in the work of the English writer. The article introduces J. Bunyan and H. Skovoroda as bright representatives of national variants of baroque aesthetics.
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Stawiarski, Marcin. "(Ré)écrire Goldberg : musicalisation, transtylisation et variation chez Gabriel Josipovici." Polysèmes, no. 12 (January 1, 2012): 227–45. http://dx.doi.org/10.4000/polysemes.681.
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Cauche, Robin. "La trame sonore du film Baby Driver : une esthétique de musicalisation intensifiée." Volume !, no. 18 : 1 (April 1, 2021): 101–17. http://dx.doi.org/10.4000/volume.9086.
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Volgsten, Ulrik. "A technology and its vicissitudes: playing the gramophone in Sweden 1903–1945." Popular Music 38, no. 2 (May 2019): 219–36. http://dx.doi.org/10.1017/s0261143019000060.
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AbstractThis inquiry deals with the changing role of the technology and the use of phonographs and gramophones during the first half of the 20th century. Rather than looking at the UK or USA, which much previous research has done, the focus is on peripheral Sweden. More specifically the question is how phonography turned from being a scientific curiosity into becoming an everyday media technology, and how it thereby influenced culture and everyday musical communication. The findings show two distinct approaches to recorded music, which intermingle in today's unprecedented musicalisation of culture and everyday life around the globe – approaches respectively described as utilitarian and solipsistic.
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Bădulescu, Dana. "Huxley’s “Jungle of Noise” in Point Counter Point." Revista Canaria de Estudios Ingleses, no. 84 (2022): 19–29. http://dx.doi.org/10.25145/j.recaesin.2022.84.02.
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Point Counter Point, Aldous Huxley’s experiment with the ”musicalisation of fiction” (PCP 384, –References to Point Counter Point will be abbreviated hereon in PCP–) was published in 1928, the end of a decade of post-war trauma, conflicting ideologies, proliferating scientific theories, new technologies and reckless hedonism. These amalgamated aspects found their expression in the novel’s cubist montage, contrapuntal orchestration and cynical tone. I argue that, in tandem with the experimental poetry and prose of Huxley’s contemporaries, Point Counter Point set the tone for a new literary culture on both sides of the Atlantic. This approach accounts for the novel’s experimental techniques and design, starting from the ”jungle of noise” (65) metaphor.
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Gledhill, Christine. "Melodrama's Modern." Nineteenth Century Theatre and Film 48, no. 2 (November 2021): 162–79. http://dx.doi.org/10.1177/17483727211039464.
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Confronting the paradox of melodrama as an apparently outdated Victorian stage form now argued as the overarching modality of modern screen fiction, this essay rethinks the nature of melodrama's 'modern' as an aesthetic modality capable of channelling the social through individual protagonists. Devising staging and plotting that foregrounds emotional and moral consequences of actions, and drawing on musicalisation of performance and word to embody feeling, the melodramatic mode creates haptic connection with audiences, inviting empathy with the sensations and 'human interest' of other's experiences, while it discursively binds the social into the personal in the acculturated images, turns of speech, and cultural references through which its characters' emotions and actions are expressed. Arguing shifting criteria of verisimilitude under pressure of changing social conditions and emergence of new technologies, the essay shows how melodrama's personalisation of the social evolves in modern screen media through the resources of cinematography.
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Huvet, Chloé. "Musique et effets sonores dans Star Wars : Épisode II – L’attaque des clones. Une alliance conflictuelle ?" Revue musicale OICRM 2, no. 2 (June 6, 2019): 67–95. http://dx.doi.org/10.7202/1060131ar.
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De récents travaux consacrés à la saga Star Wars soulignent la contrepartie problématique du perfectionnement sonore : la pléthore des effets sonores ferait passer la musique au second plan voire la rendrait inaudible – en particulier dans ce second épisode. Le compositeur et le concepteur sonore eux-mêmes évoquent dans leurs entretiens une rivalité constante. Notre article propose ainsi d’interroger dans quelle mesure et selon quelles modalités les interactions entre musique et bruitages parviennent à dépasser une simple alliance conflictuelle. Il s’agira aussi de dégager les significations dont elles sont porteuses au regard des images et du dialogue. La fluctuation de la primauté des effets sonores ou de la musique n’est en effet pas anodine, tant sur le plan dramatique que narratif. En outre, on peut observer une musicalisation des bruitages qui, loin d’assumer une simple fonction illustrative ou d’« effet de réel », sont véritablement donnés à entendre pour eux-mêmes.
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Nasution, Arie Azhari, Ricky Yudhistira Nasution, and Evi Marlina Harahap. "Poetry Musicalization as Desire Manifestation of Ari-Reda Group in Sapardi Djoko Damono’s Poems." Journal Polingua : Scientific Journal of Linguistics, Literature and Education 9, no. 2 (October 30, 2020): 54–58. http://dx.doi.org/10.30630/polingua.v9i2.142.
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Viewed in the past 10 years, poetry musicalization had become a trend in Indonesia. Many groups change a written poem into musical. Not only creating musical poetry, this group also utilizes technological developments to publish it. The publication is done by uploading poetry musicalisation to social media so that it can be listened by public. One of the groups best known for the music he created is the Ari-Reda group, which from the beginning focused on the poems of Sapardi Djoko Damono. Of course, many things can be highlighted when looking at the process of reproduction of a work. One of them expressed a desire as an effort to fulfill themselves. Ari-Reda in this case, expressed desire through the poem "Aku Ingint" by Sapardi Djoko Damono. The results show that Ari-Reda's desire to the poemss as a fulfillment of desires between humans and humans and humans with love that is never finished because it never having time to say the desire.
Dissertations / Theses on the topic "Musicalisation"
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Gueraud, Pinet Guylaine. "Musique et industries médiatiques. : Construction et mutations d'une musicalisation médiatisée à la télévision (1949-2015)." Thesis, Université Grenoble Alpes (ComUE), 2018. http://www.theses.fr/2018GREAL015/document.
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La thèse étudie le rapport « musique-média » dans une perspective communicationnelle. Par une recherche centrée sur la musicalisation médiatisée, il s’agit d’analyser les intégrations musicales à la télévision entre 1949 et 2015. Construite sur un héritage intermédiatique et intergénérique, la mise en musique des programmes de télévision français témoigne depuis les années 1980 de l’industrialisation croissante de la production de deux filières des industries culturelles : la filière de l’audiovisuel et la filière de la musique enregistrée. Pour appréhender les enjeux sous-jacents à ces questionnements, une méthodologie inter-dimensionnelle a été mise en place : enquête sur l’activité professionnelle des monteurs (historiographie et entretiens semi-directifs) et analyses de corpus (analyse statistique et analyse de contenu thématique). Majoritairement focalisée sur la télévision de flux (magazine, télé-réalité, journaux télévisés, etc.), l’enquête s’est aussi ouverte à des productions fictionnelles (longs métrages et séries télévisées). Il ressort de ces analyses que dans un contexte de création rationalisée, les intégrations attestent de la prise en considération des valeurs symboliques de la musique dans des stratégies de captations des publics. Visibles au sein même des contenus, les changements remarqués entraînent ainsi une augmentation et une circulation accrue des images musicalisées, ce qui révèle une participation des médias à une culture industrialiséeThis doctoral thesis questions the relationship between music and the media from a communicational perspective. Relying upon the notion of mediatized musicalization, this research work offers an analysis of musical integrations featured on French television from 1949 to 2015. Building upon intermedia and integeneric foundations, the musical setting of French television programs bears witness to the ever increasing industrialization of two sectors of the cultural industries since the 1980’s: the audiovisual sector and the recorded music sector. In order to fully appreciate the issues at stake here, a composite methodology has been adopted mixing investigative research on the work of video editors (historiographical readings, semi-directive interviews) and corpus analyses (statistical analyses and thematically-oriented content analyses). One of the conclusions that can be drawn from these analyses is that, in a context of rationalized creation, musical integrations indicate that the symbolic value of music is taken into consideration as part of a wider strategy aimed at grabbing the attention of the public. These changes, noticeable in the contents, have led to the multiplication and to the growing circulation of musicalized images, thus reveal the involvement of the media in our industrialized culture
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Koenig, Nicolas. "Etude de la tradition jazzistique comme musicalisation du monde : le jazz comme anthropologie appliquée en musique." Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAG007/document.
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Les musiques afro-américaines et le jazz en particulier, nous interpellent de manière opportune sur les relations interculturelles qui se jouent dans nos sociétés occidentales. Analyseurs des relations interculturelles, les phénomènes musicaux d’origine afro-américaine nous invitent à repenser sous un angle original les questions de la ségrégation et des discriminations exercées sur la communauté afro-américaine. En outre, c’est notre rapport à la culture et à l’art dans nos sociétés occidentales qui s’en trouve interrogé. À travers la transmission et la diffusion du jazz de l’autre côté de l’Atlantique, en Europe et notamment en France, j’analyserai les perspectives et développements contemporains du jazz en interrogeant en particulier l’enchevêtrement des multiples traditions. La cohabitation, dans le maelstrom contemporain, de diverses traditions jazzistiques peut être perçue comme autant de tentatives originales et conflictuelles de musicalisation du mondeThe Afro-American music and jazz in particular, question us in a convenient way on the intercultural relations which happen in our western societies. “Analyser” of the intercultural relations, the musical phenomena of Afro-American origin invites us to rethink under an original angle the questions of segregation and discriminations exercised on the Afro-American community. More over, the relationship we have with culture and art in our western societies has to be questioned here. Through the transmission and the distribution of Jazz on the other side of the Atlantic Ocean, in Europe in particular in France, I shall analyse the perspectives and the contemporary developments of the jazz would thus be perceived as so many original and contradictory attempts of “musicalisation” of the world
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Megarrity, David R. "Musicalising theatre, theatricalising music: Writing and performing intermediality in composed theatre." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/88953/1/David_Megarrity_Thesis.pdf.
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This investigation combined musicality and theatricality in the creation of four shows: Bear with Me, The Empty City, Gentlemen Songsters and Warmwaters. Led by creative practice, the research identified four polyvalences that characterise Composed Theatre, a transformational artistic domain which offers distinct challenges for performance makers. These include tensions and resolutions between compositional and theatrical thinking; music and words; setlist and script; and finally persona and character. The research finds that these interplays not only lend Composed Theatre its distinct qualities, but offer a potential set of balances to strike for writers, performers, composers and musicians who mix music and theatre in intermedial performance.
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Chakroun, Haythem. "Spatialisation de la musique et musicalisation de l'espace, du réel imaginaire au virtuel réel : nouvelle conceptualisation pour identifier le üd." Paris 4, 2004. http://www.theses.fr/2004PA040130.
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Il s'agit d'une problématique très complexe liée à une difficulté existentielle d'un instrument de musique arabe appelé ûd, cet instrument est en voie de disparition ! La critique moderne propose des hypothèses multiples et souvent simplement idéologiques ou épidermiques. La réalité est bien au-delà. Cet instrument comporte ses moyens d'expression, ses richesses de pensée et d'imagination, ses secrets techniques, ainsi qu'une structure d'évolution historique qui a débarqué chaotiquement depuis quelques siècles sur un territoire ayant une situation identitaire et phénoménologique critique, qui ne fait référence qu'à un réel immobilisme, désintérêt et atonie ! La quête et l'exploration d'une telle réalité actuelle devraient passer systématiquement par une grammaire interdisciplinaire où le dialogue serait une première clef. Le monologue, en ce sens, est un non-sens. Spatialisation de la musique et musicalisation de l'espace, du réel imaginaire au virtuel réel : une idée de coexistence / coi͏̈ncidence qui procède d'une forte interférence entre des structures sonores et des espaces structurés pour arriver à une musique virtuosement virtuelle. Le virtuel dans ce contexte est fondamentalement dépendant d'un actuel, d'une présence, d'une réalité. Ce virtuel technologique est une stratégie consciente d'une représentation globale et d'un nouveau moyen d'expression encore expérimentale, hybride mais tournée vers l'authenticité du geste de l'interprète et de la perception. La substance informationnelle produite à l'origine est traitée par une chaîne de traitement du signal électroacoustique en temps réel qui s'identifie par son caractère langagier abstrait. L'interface est une partie intégrante de l'oeuvre, le résultat de l'expérience ne sera plus une musique stationnaire, mais plutôt une " musique spatiale "This Thesis investigates a complex research problem linked to the existential difficulty of an Arabic musical instrument known as the û, an instrument which is in away of disparition. Modern critics suggest multiple hypotheses that often prove simply ideological or superficial. However, reality is beyond and more complicated. This instrument involves its own expression means, richness of ideas and imagination, and secret techniques. In addition, it presents a historical evolution structure that disembarked chaotically few centuries ago on a territory characterized by a critical identity and phenomenological situation, which refers to a real stagnation, disinterestedness and atony. Research and exploration of such a reality should systematically pass through a multidisciplinary grammar where the dialogue becomes the first key. In this sense, the monologue becomes meaningless. Spatialisation of music and musicalisation of space, from imaginary reality to real virtual : a coexistence /coincidence concept which proceeds from a strong interference between sound structures and structured spaces to reach a virtuosely virtual music. The virtual in this context basically depends on a real present. This technological virtual is a conscious strategy of the global representation and a new means of expression which is still experimental and hybrid but aiming the authenticity of the interpreter's gesture and of perception. The information originally produced, is treated in real-time by a musical data processing station, characterized by its abstract language. The interface is an integrated part of work-study. The result of the experience will no more be a stationary music but rather a "spatial music"
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Britton, Gillian Kaye. "...fuga...a novel." Thesis, 2012. http://hdl.handle.net/2440/98245.
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Eva Byrne is twenty-five years old, a gifted violinist forging a career in London, when her life begins to unravel in the wake of traumatic events. Ostensibly a novel about music, … fuga equally explores the territory of loss, identity, memory and place. Eva’s close first person journal dissembles and reconstructs the personal narrative that has shaped her life and her choices, interweaving past and present in a destabilised interior monologue that is frequently at odds with the more public dialogue offered through interspersed letters, interviews, reviews and blogs. In Part One, Eva finds herself on the remote Orkney island of Hoy. Offered sanctuary at the home of her good friend, the eminent composer, Fergus Cunningham, she attempts to grapple with the recent events that have sparked her spiral into a not unfamiliar pattern of self-destruction. Part Two sees Eva returning to Australia, attempting to reconcile with more distant events that she has spent nine years in London trying to forget. The exegetical essay, ‘The Musicalisation of … fuga: how music influenced and shaped the writing of a novel’, explores the idea of ‘musicalisation’: how the metaphoric appropriation of musical ideas and strategies within a novelistic narrative helped to shape the novel’s ideas and form. Beginning with a theoretical introduction to the idea of musicalisation, and incorporating a broader literary and theoretical context, each subsequent chapter of the exegesis then uses a key work of music, or a key musical idea relevant to the writing of … fuga, to further elucidate the ideas regarding musicalisation that the writing of the novel generated, and which in turn inspired both the theoretical research and the ongoing creative work. It is as much an exploration of my development as a writer as it is an exploration of the novel that eventually emerged from this development. In a broader sense it is an exploration of the art of the novel – what a novel is, and what a novel does – since, as a first-time novelist, this was the question central to my process.Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2012.
Book chapters on the topic "Musicalisation"
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Deeming, Helen. "Music and the Book: The Textualisation of Music and the Musicalisation of Text." In The Edinburgh Companion to Literature and Music, 48–62. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0006.
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This chapter explores the processes of the textualisation of music (that is, committing music to writing) and the musicalisation of text (or the setting of written words to musical melodies). It considers questions of orality and memory, authority and canonisation, and the wide range of purposes for writing down text and music in the Middle Ages. Case studies delve into particular instances of music writing from twelfth- and thirteenth-century England, finding evidence of the drafting and rewriting of music and words on the manuscript page, music moving between illiterate and literate spheres, and texts being added to pre-existing music as well as melodies to pre-existing texts.
Conference papers on the topic "Musicalisation"
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Sudarmanto, Budi, Tri Wahyono, and Dian Susilastri. "Poetry Musicalisation in Teaching BIPA." In Proceedings of the 2nd Konferensi BIPA Tahunan by Postgraduate Program of Javanese Literature and Language Education in Collaboration with Association of Indonesian Language and Literature Lecturers, KEBIPAAN, 9 November, 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.9-11-2019.2294959.
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