Bibliografie tematiche / Meredith Monk

Letteratura scientifica selezionata sul tema "Meredith Monk"

Autore: Grafiati
Pubblicato: 27 luglio 2024
Ultima modifica: 30 luglio 2024

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Articoli di riviste sul tema "Meredith Monk"

1

Wright, David, Monk, Singers and Ensemble e Wayne Hankin. "Meredith Monk: Atlas". Musical Times 135, n. 1812 (febbraio 1994): 110. http://dx.doi.org/10.2307/1002994.

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2

Janice Mowery. "Meredith Monk: Between the Cracks". Perspectives of New Music 51, n. 2 (2013): 79. http://dx.doi.org/10.7757/persnewmusi.51.2.0079.

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Janice Mowery. "Meredith Monk: Between the Cracks". Perspectives of New Music 51, n. 2 (2013): 79–100. http://dx.doi.org/10.1353/pnm.2013.0002.

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4

Fischer, Eva-Elisabeth. "tiefer atem". tanz 15, n. 1 (2024): 52–55. http://dx.doi.org/10.5771/1869-7720-2024-1-052.

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5

Maizels, Michael. "Gendered Bodies: Bruce Nauman Meets Meredith Monk". PAJ: A Journal of Performance and Art 40, n. 1 (gennaio 2018): 61–73. http://dx.doi.org/10.1162/pajj_a_00362.

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Edney, Kathryn. "Meredith Monk: Inner Voice (review)". Film & History: An Interdisciplinary Journal of Film and Television Studies 41, n. 2 (2011): 77–79. http://dx.doi.org/10.1353/flm.2011.0044.

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Smithner, Nancy Putnam. "Meredith Monk: Four Decades by Design and by Invention". TDR/The Drama Review 49, n. 2 (giugno 2005): 93–118. http://dx.doi.org/10.1162/1054204053971054.

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8

Storolli, Wânia Mara Agostini. "Meredith Monk: a arte nas fronteiras das linguagens". Urdimento 1, n. 28 (3 agosto 2017): 78–87. http://dx.doi.org/10.5965/1414573101282017078.

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Smithner, Nancy. "Meredith Monk: Four Decades by Design and by Invention". TDR/The Drama Review 50, n. 2 (giugno 2006): 4. http://dx.doi.org/10.1162/dram.2006.50.2.4.

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Lassetter, Leslie. "Meredith Monk: An interview about her recent opera,Atlas". Contemporary Music Review 16, n. 1-2 (gennaio 1997): 59–67. http://dx.doi.org/10.1080/07494469700640071.

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Tesi sul tema "Meredith Monk"

1

Pym, Rebekah. "The voice as gesture in Meredith Monk's ATLAS /". Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79804.

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Abstract (sommario):
Meredith Monk's multi-modal work incorporates theatre, dance, film and music. Her claim is that music and specifically the voice lie at the heart of all her work. At this core, she uses auditory gesture in wordless vocal lines to express her meaning, usually the hidden narrative of emotion, to enable universal intelligibility. This thesis uses the concept of gestus in the sense of Brecht and Weill as an instrument to examine vocal gesture in three scenes in Monk's opera ATLAS, and then relates it to her compositional process. It also studies gestus in connection with Monk's biography and the influences on her especially Emile Jaques-Dalcroze and Antonin Artaud.
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Anaka, Nicole Elaine. "Women on the verge, sounds from beyond : extended vocal technique and visions of womanhood in the vocal theatre of Meredith Monk, Diamanda Galás, and Pauline Oliveros". Thesis, 2006. http://hdl.handle.net/1828/1838.

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Abstract (sommario):
Women composers have not traditionally been at the forefront of genre development. Western classical musical genres and formal structures tend to operate by conventions codified by male composers of European and North American descent, and, accordingly, reflect patriarchal aesthetics and viewpoints. The nascent genre of vocal theatre, however, has been primarily defined by the works of women composer/performers. Artists Meredith Monk, Diamanda Galas, and Pauline Oliveros have created new modes of theatre for the voice; in their personal explorations of extended vocal technique, the female voice is used as a tool for discovering, activating, remembering, and uncovering a consciousness that is primordial, pre/anti-logical, and oracular. My thesis proposes that the vocal theatre of these women functions as musical ecriture feminine, a term first introduced by French feminist theorist Helene Cixous. As a theoretical framework, ecriture feminine provides a particularly useful tool for interpreting these works, which, in the importance they place on openness, transcending language, embodied performances, and personal visions of womanhood, reveal aesthetic concerns that in many ways have more in common with the literary genre of ecriture feminine than those of canonical Western art music. I argue that these works are important not only as musical ecriture feminine, but as examples of an alternative, "feminine" compositional practice that prioritizes collaboration, improvisation, and intuitive modes of creativity. In doing so, they destabilize the traditional "maleness" of genre creation.
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Libri sul tema "Meredith Monk"

1

Deborah, Jowitt, a cura di. Meredith Monk. Baltimore: Johns Hopkins University Press, 1997.

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2

Monk, Meredith. Meredith Monk. Paris: Art press, 2018.

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3

Deborah, Jowitt, a cura di. Meredith Monk. Baltimore: Johns Hopkins University Press, 1997.

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4

interviewer, Tallon Jean-Louis, a cura di. Meredith Monk, une voix mystique: Entretiens avec Jean-Louis Tallon. Marseille: Le mot et le reste, 2022.

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5

Merce, Cunningham, Monk Meredith, Jones Bill T e Walker Art Center, a cura di. Art performs life: Merce Cunningham, Meredith Monk, Bill T. Jones. Minneapolis: Walker Art Center, 1998.

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6

Italy) Biennale di Venezia (56th 2015 Venice. L'idea del corpo: Merce Cunningham, Steve Paxton, Julian Beck, Meredith Monk e Simone Forti dall'Archivio della Biennale, 1960-1976 = The idea of the body : Merce Cunningham, Steve Paxton, Julian Beck, Meredith Monk and Simone Forti from the Archives of the Biennale, 1960-1976. Venezia: La Biennale di Venezia, 2015.

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7

Meredith Monk. PAJ Publications, 2011.

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8

Conversations with Meredith Monk. Theatre Communications Group, Incorporated, 2014.

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9

Conversations with Meredith Monk (New, Expanded Edition). P A J Publications, 2020.

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10

Meredith Monk,Une Voix Mystique: Entretiens Avec Jean-Louis Tallon. CECILE DEFAUT, 2015.

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Capitoli di libri sul tema "Meredith Monk"

1

Schmidt, Dörte. "Monk, Meredith (Jane)". In Metzler Komponisten Lexikon, 496–97. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_194.

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Schmidt, Dörte. "Monk, Meredith (Jane)". In Komponisten Lexikon, 385–86. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_191.

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3

Briginshaw, Valerie A., e Ramsay Burt. "Interview with Meredith Monk about Turtle Dreams (Cabaret)". In Writing Dancing Together, 143–50. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230235335_9.

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"Meredith Monk". In The Twentieth Century Performance Reader, 386–89. Routledge, 2013. http://dx.doi.org/10.4324/9780203125236-51.

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"MEREDITH MONK". In Fifty Contemporary Choreographers, 226–31. Routledge, 2005. http://dx.doi.org/10.4324/9780203977972-40.

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6

Kloetzel, Melanie, e Carolyn Pavlik. "Meredith Monk". In Site Dance, 33–51. University Press of Florida, 2011. http://dx.doi.org/10.5744/florida/9780813034003.003.0002.

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"Meredith Monk". In Speaking of Dance, 89–102. Routledge, 2005. http://dx.doi.org/10.4324/9780203997703-13.

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8

"Meredith Monk:". In Performance / Media / Art / Culture, 279–80. Intellect Books, 2019. http://dx.doi.org/10.2307/j.ctv36xw39g.60.

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9

"III.1 Über Meredith Monk". In Vokale Performancekunst als feministische Praxis, 265–74. transcript-Verlag, 2015. http://dx.doi.org/10.14361/9783839432235-010.

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"III.1 Über Meredith Monk". In Vokale Performancekunst als feministische Praxis, 265–74. transcript Verlag, 2015. http://dx.doi.org/10.1515/9783839432235-010.

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