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Journal articles on the topic 'Musicalisation'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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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.

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Qodriyah, Khodijatul. "Musikalisasi Syi’ir Aqoid Kiai Zaini Mun’im dan Budidaya Tanaman Obat Keluarga (Toga) di Pesantren Nurul Jadid Probolinggo." GUYUB: Journal of Community Engagement 1, no. 1 (April 6, 2020): 47–58. http://dx.doi.org/10.33650/guyub.v1i1.1257.

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The lack of students’ knowledge of their teachers’ works and the less of their consciousness to the environment are crucial problems in some islamic boardingschool, especially in Nurul Jadid. These issues will be settled by implementation of religious preaching (dakwah) with poem (syi’ir) in Syu’abul Iman of Kiai Zaini Mun’im and prefentive action to the illness through herbal medicines of family crops medicine (tanaman obat keluarga). The program is undertaken with some phases, including planting family crops medicine, making herbal medicines, musicalisation of poem in book of Syu’abul Iman, socialization of the herbal medicine and musical poem of Syu’abul Iman. These phases have been structured with long-term, middle-term, and short-term programs which were finished during approximately 4 months (Augustus – November 2019). The involvement of many parties, such as activists of environment in Nurul Jadid, has strongly influenced on the successful implementation of these programs.Keywords: Family Crops Medicine, Nurul Jadid Islamic Boardingschool, Book of Syu’abul Iman

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Heckmann, Yvonne. "De l’impressionnisme au psychologisme : la musicalisation de la pensée dans les monologues intérieurs d’Édouard Dujardin et d’Arthur Schnitzler." Modèles linguistiques xxxviii, no. 76 (December 30, 2017): 45–75. http://dx.doi.org/10.4000/ml.5229.

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Vorobyova, Olga. "INTERPHENOMENA IN THE PARADIGMAL DIMENSION, OR WHAT IS THERE BEYOND THE HORIZON OF COGNITOLOGY?" Studia Linguistica, no. 19 (2021): 24–37. http://dx.doi.org/10.17721/studling2021.19.24-37.

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This paper addresses the role of interphenomena as multidimensional integrative phenomena or entities in shaping the contours of current postparadigmal syncretic phenomenological episteme that tends to substitute the traditional hypothesis-methodology epistemes, those of evolutionarism, structuralism, functionalism, and cognitivism. Interphenomena, which according to their terminological world-building design can be marked by the respective prefixes (intermediality, multimodality, transmediality, etc.) or unmarked (transparency, corporeality, stereoscopicity, etc.), form a network − the world of interphenomena. The latter might be characterised by internal and external diffusion, sense and space multidimensionality, flexibility, volumetricity, and holographicity. From a research perspective each interphenomenon may be regarded as a triangulation focus and a lense or prism for studying other (inter)phenomena. At this it might be viewed conventionally or non-conventionally, as a separate unit or in a double/triple/multiple configuration with other interphenomena, while being related to or integrated with them according to the principle of figure/ground interchange. As a case study of interphenomena interplay in literary text, the paper highlights the interaction of intermediality, multimodality, and verbal holography, which jointly give rise to the sensory construal of musicalisation traced in Kazuo Ishiguro’s “Crooner”. Given the resilts of the analysis, while looking beyond the cognitive discursive paradigm horizon, the paper outlines possible vectors of further paradigm shifts within the area of interdisciplinary humanities, with a special emphasis on energiality, pancreativity, and game-ubiquity as dominant interphenomena.

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Arteel, Inge. "Experimental Acoustic Life Writing: Gerhard Rühm's Radio Plays." CounterText 5, no. 3 (December 2019): 332–51. http://dx.doi.org/10.3366/count.2019.0169.

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In this article I focus on a selection of radio plays by the Austrian author Gerhard Rühm and analyse them from the perspective of life writing, starting with Irene Kacandes' findings on the increased referential effect of experimental life writing (2012). I want to extend the notion of experimental life writing to the medium of the experimental radio play and investigate whether and how the experiments with spoken language, voice, and musicalisation of language contribute to an effect of realness and create an aural world infused with lived experientiality. I'm particularly interested in the relationship between individualised, figurative voices and sounds, as they are to be expected in (auto)biographical art, and the defiguration and deindividualisation in the experimental, synthetic manipulation of human language and voice. Situating the corpus in the history of the German Neues Hörspiel, my analysis hopes to prove that the reality effect of the experimental (auto)biographical radio play does not, or at least not only, refer to an individual biographical self. Instead, the complex constellation of text and paratext, of scripted and spoken language, and of voice and music opens up the referential level for a broader, more general human experientiality. Most importantly, the technical possibilities of the radiophonic medium allow an intricate play with the semantics of referential language, with masking and unmasking voices, and with the exploration of the pathos of speaking together.

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Frait, Oksana, Olha Katrych, Myroslava Novakovych, Ostap Maychyk, and Natalia Maychyk. "“Isch Grolle Nischt” by Heinrich Heine in Musically and Comparative Discourse of an Eminent Text." Studies in Media and Communication 10, no. 3 (December 17, 2022): 77. http://dx.doi.org/10.11114/smc.v10i3.5836.

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Eminentness is a term of the German hermeneutic philosopher Hans-Georg Gadamer, which he used to denote a text which contains an interpretation of its complementary meaning. First of all, he considered this to be a song with the word (poetry) and the music as its constituent parts. The combination of “literature and music”, i.e., vocal music, is one of the examples of the comparative (intermedial) theories of Stephen Paul Scheer. There are also two examples, including “literature in music” and “music in literature”, represented by programme music and musical prose as other forms of this integration, which can also be seen as eminent artistic texts. In this musical and comparative discourse, consider the poem “Isch grolle nischt” by Heinrich Heine, which has returned to literature after its integration into music, which showcases the works of prominent and nationally representative artists – except the German poet, the German and Ukrainian composers (Robert Schumann and Mykola Lysenko), the Ukrainian poet, writer and literary critic Lesya Ukrainka, and the unknown under a pseudonym V. Tarchansky. These artefacts draw attention if looking back at cross-cultural Ukrainian-German interactions. Particular aspects of the topic have already been covered by musicologists and literary scholars. The problem of the musicalisation of H. Heine's poetry has been addressed by many Ukrainian and foreign scholars. Ukrainian literary critics have focused on the “musical prose” associated with Heine's works. However, this subject has not yet been studied in the sum of the above comparative examples, and the discourse of eminentness, hence the relevance of this article.

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Rusniati, Rusniati. "KETERAMPILAN MUSIKALISASI PUISI DENGAN TEKNIK PEMODELAN PADA SISWA KELAS KELAS IX SMP NEGERI 3 RUMBIA KABUPATEN JENEPONTO." Al-Din: Jurnal Dakwah dan Sosial Keagamaan 5, no. 1 (January 6, 2020): 31–48. http://dx.doi.org/10.35673/ajdsk.v5i1.568.

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Abstract This research aims to improve student learning outcomes in music poetry through modeling techniques in Class IX students of SMP Negeri 3 Rumbia, Jeneponto Regency. This study, is a research that aims to make improvements that have an impact on improving student learning outcomes. The subjects in this study were class IX students of SMP Negeri 3 Rumbia, Jeneponto with a total of 41 students, while the object of the research was the entire learning process by applying modeling techniques in learning musical poetry. This research was conducted in two cycles namely cycle I and cycle II, indicators of the success of this classroom action research on aspects of the process and learning outcomes. Data collection techniques were observations (field observations, field notes), questionnaires, documentation, performance tests (performance) and recordings. The results of the research cycle 1, with the number of students who score 80 and above as many as 11 students or 26.82%. After seeing the results achieved with the provisions of the indicator of the success of 80% of students who scored ≥ 80, not yet reached the maximum results. Based on the results of observations and evaluations that have been carried out in the second cycle there was an increase in student learning outcomes in musical poetry using modeling techniques with the value of ≥ 80 totaling 39 students or 95.12% and whereas in the second cycle it only reached 26.82% with the number 11 students. Thus, it can be concluded that the learning outcomes of Class IX students of SMP Negeri 3 Rumbia, Jeneponto Regency in musical poetry will increase when using modeling techniques correctly. Keywords: Musicalisation of poetry, and modeling techniques

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Tatit, Luiz. "Musicalisation de la sémiotique." 122, no. 122 (January 31, 2019). http://dx.doi.org/10.25965/as.6281.

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Trajanoska, Ivana. "Le roman moderniste et la musicalisation de la fiction dans l’esthétique de Dorothy Richardson." Polysèmes, no. 16 (November 15, 2016). http://dx.doi.org/10.4000/polysemes.1594.

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