Статті в журналах: "Musicalisme"

1

Lindley, Mark, and Andreas Werckmeister. "Musicalische Temperatur." Galpin Society Journal 38 (April 1985): 160. http://dx.doi.org/10.2307/841303.

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2

Aplincourt, Jean-Christophe. "« Homo Musicalis »." Volume !, no. 17 : 2 (November 30, 2020): 255–71. http://dx.doi.org/10.4000/volume.8891.

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3

Kokole, Metoda. "Instrumentalna zbirka Musicalische Ehrenfreudt (1618) skladatelja Isaaca Poscha." Musicological Annual 32, no. 1 (December 1, 1996): 5–50. http://dx.doi.org/10.4312/mz.32.1.5-50.

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4

Althaus, Reinhild. "Musicalische Neu-Erbauete Schäfferey." Daphnis 25, no. 2-3 (February 27, 1996): 369–85. http://dx.doi.org/10.1163/18796583-0250203004.

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5

Althaus, Reinhild. "Musicalische Neu-erbauete Schäfferey." Daphnis 22, no. 2-3 (January 3, 1996): 369–85. http://dx.doi.org/10.1163/18796583-0220203005.

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6

Kokole, Metoda. "Isaac Posch in njegova inštrumentalna dela s posebnim ozirom na variacijske suite za instrumentalni sestav zbirke Musicalische Ehrenfreudt (1618)." Musicological Annual 32, no. 1 (December 1, 1996): 147–48. http://dx.doi.org/10.4312/mz.32.1.147-148.

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7

Kokole, Metoda. "Isaac Posch in njegova inštrumentalna dela; s posebnim ozirom na variacijske suite za inštrumentalni sestav zbirke Musicalische Ehrenfreudt (1618)." Musicological Annual 34, no. 1 (December 1, 1998): 139–42. http://dx.doi.org/10.4312/mz.34.1.139-142.

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8

Bebak, Marek. "Andrea Mariani, Inventoria Rerum Musicalium Domum Societatis Iesu in Polonia et Lituania Tempore Suppressionis, Warszawa 2020." Muzyka 66, no. 3 (October 20, 2021): 213–17. http://dx.doi.org/10.36744/m.990.

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9

Mandel, Susan E. "Music Therapy in the Hospice: ‘Musicalive’." Palliative Medicine 5, no. 2 (April 1991): 155–60. http://dx.doi.org/10.1177/026921639100500211.

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In-hospice music therapy is defined as the planned, systematic application of music and the relationship between the therapist, patient and family to promote the comfort of the entire person — body, mind, and spirit. It is suggested that the music therapist serves an important role in the hospice team. The author explores multiple dimensions of her role as a hospice music therapist including the development of the music therapy resource centre, programme design and implementation, the education and training of team members, and meeting patients' and families' total needs at home and in the hospice inpatient unit. Music therapy referral criteria, objectives and interventions are discussed and the music therapist's role in facilitating volunteer, staff, and bereavement support groups is explained.

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10

Costantini, Stéphane. "De la scène musicale aux réseaux musicalisés." Réseaux 192, no. 4 (2015): 143. http://dx.doi.org/10.3917/res.192.0143.

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11

Karinthi, Pierre Y. "A Contribution to Musicalism: An Attempt to Interpret Music in Painting." Leonardo 24, no. 4 (1991): 401. http://dx.doi.org/10.2307/1575517.

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12

Carrico, Alexandria. "From Craic to Communitas: Furthering disability activism through traditional Irish song." Journal of Interdisciplinary Voice Studies 4, no. 2 (October 1, 2019): 257–63. http://dx.doi.org/10.1386/jivs_00009_1.

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Abstract This piece offers an ethnographic account of work undertaken to bridge neurotypical and neurodivergent communities in Limerick, Ireland, through music-making workshops. By harnessing a common musical heritage in traditional Irish folk music, specifically its participatory dynamics, and its emphasis on story-telling, dialogue and inclusion, participants were able to musicalize their identities in ways that resonated with the integrative spirit of neurodiversity, against the logics of neurotypical, able-bodied assimilation.

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13

Michelson, Annette. "Painting, Instantaneism, Cinema, America, Ballet, Illumination, Apollinaire." October 169 (August 2019): 65–74. http://dx.doi.org/10.1162/octo_a_00356.

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Attending closely to the implicit kineticism of Picabia's 1924 “Instantaneist Manifesto” and the musicalist aesthetic of his art, Annette Michelson considers the artist's interest in time and moving images, arguing that temporalization is the key impulse in his practice regardless of medium. This dedication to temporalization, the author claims, manifests not only as a fetishization of mobility and travel but more critically as the stimulus for interrelations between dance, cinema, painting, and poetry.

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14

Zayaruznaya, Anna. "Hockets as Compositional and Scribal Practice in the ars nova Motet—A Letter from Lady Music." Journal of Musicology 30, no. 4 (2013): 461–501. http://dx.doi.org/10.1525/jm.2013.30.4.461.

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The whimsical upper-voice texts of the anonymous fourteenth-century motet Musicalis/Sciencie stage an epistolary exchange between Rhetoric, Music, and a long list of French composers and singers. The letters complain that these musicians, whose ranks include Guillaume de Machaut and Philippe de Vitry, split words with rests when they write hockets. The critical tone of Musicalis/Sciencie implies that some ars nova composers must have regularly split words with hockets, while others—the motet’s composer, for one—held this to be bad practice. But since modern editions and medieval scribes alike are imprecise in the placement of text around hockets, the existence of such opposing camps seems difficult to substantiate. An analysis of text-note alignment in four sources for Apta/Flos reveals that some scribes were prescriptive in their texting of hockets, while others, like the scribe of the important Ivrea codex, were pragmatic. An awareness of these differences can lead to alternate modes of interpreting ambiguous text underlay. In the case of Philippe de Vitry’s Petre/Lugentium, shifting syllables adjacent to hockets can transform the work, highlighting carefully differentiated textural zones that are key to its structure. Such editorial intervention can in turn yield fresh insight into competing compositional approaches.

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15

Juan Antonio, Lira Aguirre. "La música y las palabras. Manifestaciones del jazz en "El perseguidor" de Julio Cortázar." Argos 6, no. 17 (January 1, 2019): 93–101. http://dx.doi.org/10.32870/argos.v6.n17.9a19.

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La relación existente entre la música y las letras ha dado numerosos frutos a lo largo de la historia de la literatura. Resulta muy obvia la transformación de las letras en música, ya que es muy común que se musicalice un poema, o que un libreto sirva de base para la composición de una ópera. La relación inversa no es tan clara, ni se ha estudiado lo suficiente: la manera en que la música influye en la literatura; la transformación del arte de los sonidos en el de las palabras.

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16

Gero, Olga V. "«Музыкальное отдохновение души» Иоганна Альбрехта Кресса как музыкальный духовный компендий". Научный вестник Московской консерватории, № 2(49) (29 червня 2022): 338–53. http://dx.doi.org/10.26176/mosconsv.2022.49.2.03.

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Johann Albrecht Kress, a vice-Kapellmeister and later a director of the Hofkapelle in Stuttgart, was regarded highly as a composer. The compositional output of Kress is quite modest: he left only two printed collections, funeral music, and some manuscripts. His print “Musicalische Seelen-Belustigung” he entitled rather in a tradition of German devotional books than common musical printed collections. Some rare texts Kress used in his “Seelen-Belustigung” let us make an assumption that he wanted to create his own musical devotional work which should be a compendium of the different, sometimes extraordinary text sources, musical genres and compositional features. A few other pieces are not included in “Seelen-Belustigung” and kept as a part of convolute in the German State Library. The questions of their origins, affinity of “Seelen-Belustigung” with devotional books and a character of compendium are the focus of present investigation. Композиторское дарование Иоганна Альбрехта Кресса - вице-капельмейстера, а позже и директора придворной капеллы в Штутгарте - высоко оценивалось современниками. Однако музыкальное наследие Кресса весьма невелико: помимо Погребальной музыки и нескольких рукописей он опубликовал лишь два сборника духовных концертов. «Musicalische Seelen-Belustigung» («Музыкальное отдохновение души») он озаглавил, скорее, в традиции немецких молитвенных книг, чем типичных музыкальных печатных сборников. Благодаря наличию редких текстов, положенных на музыку в «Музыкальном отдохновении души», можно предположить, что Кресс руководствовался идей создания собственного музыкально-молитвенного сборника, который должен был стать своеобразным компендием различных текстов, музыкальных жанров и композиторской техники. Рукописный конволют из Государственной библиотеки (Берлин) содержит несколько манускриптов, не изданных в «Музыкальном отдохновении души». Истории происхождения этих произведений, связи печатного сборника с молитвенными книгами, а также исследованию структуры и характера «Музыкального отдохновения» посвящена данная статья.

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17

Kellner, Herbert Anton. "A propos d'une réimpression de la Musicalische Temperatur (1691) de Werckmeister." Revue de musicologie 71, no. 1/2 (1985): 184. http://dx.doi.org/10.2307/928602.

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18

Rouzé, Vincent. "Musicaliser le quotidien : analyse et enjeux de mises en scène particulières." Volume !, no. 4 : 2 (September 15, 2005): 41–50. http://dx.doi.org/10.4000/volume.1334.

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19

Brück, Helga. "Die Brüder Johann, Christoph und Heinrich Bach und die "Erffurthische musicalische Compagnie"." Bach-Jahrbuch 76 (May 11, 2018): 71–78. http://dx.doi.org/10.13141/bjb.v19902716.

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Der Beitrag versucht anhand von Archivalien einige Ungereimtheiten der innerfamiliären Bach'schen Überlieferung zu den ersten musikalisch tätigen Vertretern der Familie in Erfurt zu klären. Erwähnte Artikel: Fritz Wiegand: Die mütterlichen Verwandten Johann Sebastian Bachs in Erfurt. BJ 1967, S. 5-20 Siegfried Orth: Zu den Erfurter Jahren Johann Bernhard Bachs (1676-1749). BJ 1971, S. 106-111 Siegfried Orth: Johann Bach, der Stammvater der Erfurter Bache. BJ 1973, S. 79-87

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20

Pickerodt, Gerhart. "Der tönende Sarg. Heinrich Schütz' "Musicalische Exequien" im Ereigniszusammenhang eines Fürsten-Todes." Schütz-Jahrbuch 16 (August 22, 2017): 27–37. http://dx.doi.org/10.13141/sjb.v1994801.

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21

Henze-Döhring, Sabine. "Schütz' "Musicalische Exequien". Die kompositorische Disposition der "Sarginschriften" und ihr liturgischer Kontext." Schütz-Jahrbuch 16 (August 22, 2017): 39–48. http://dx.doi.org/10.13141/sjb.v1994802.

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22

Bezantakou, Olga. "Resonances of Henri Bergson's ‘music’ in the interwar aesthetic discourse of the journal Μακεδονικές Ημέρες: the idea of the nouveau romantisme". Byzantine and Modern Greek Studies 43, № 1 (квітень 2019): 117–34. http://dx.doi.org/10.1017/byz.2018.28.

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This essay examines the metaphorical use of musical terms in Greek aesthetic discourse during the interwar period by illuminating a crucial yet neglected moment in the reception of anti-rationalistic philosophical and aesthetic tendencies that had greatly influenced European modernist literature since the late nineteenth century. In particular, it points out the ways the reception of Bergsonian theories in Greece co-determined the formation of a new concept of Modern Greek narrative fiction, clearing the ground for the first modernist attempts to ‘musicalize’ fiction. The essay thus proposes a broader perception of the term ‘musicalization’ than the mere imitation of musical techniques in narrative texts, since the aesthetic discourse features not only actual music but also ‘music’ as an aesthetic category synonymous with transcendence, ambiguity and fluidity.

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23

Maul, Michael. ""Die große catholische Messe". Bach, Graf Questenberg und die "Musicalische Congregation" in Wien." Bach-Jahrbuch 95 (March 13, 2018): 153–75. http://dx.doi.org/10.13141/bjb.v20091864.

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Unter Berücksichtigung neuerer Widersprüche gegen das Verständnis der h-moll-Messe BWV 232 als Vermächtniswerk ohne eigentlichen Anlass wird im vorliegenden Artikel, der im Wesentlichen ein Referat des Autors auf dem Symposium „Understanding Bach’s B-minor Mass 2007 in Belfast wiedergibt, eine weitere neue Erklärungsgrundlage für die Vervollständigung der Messe eingeführt. Dazu wird die Person Graf Johann Adam von Questenbergs mit seiner Hofhaltung im mährischen Jarmeritz und ihren Beziehungen zum kaiserlichen Hof in Wien in den Mittelpunkt gestellt. Über die Frage eines möglichen Kontakts zu Johann Sebastian Bach wird die Möglichkeit eröffnet, die Messe könnte durch Vermittlung Graf Questenbergs für Wien entstanden sein. Erwähnte Artikel: Friedrich Wilhelm Riedel: Aloys Fuchs als Sammler Bachscher Werke. BJ 1960, S. 83-99 Alois Plichta: Johann Sebastian Bach und Johann Adam Graf von Questenberg. BJ 1981, S. 23-30 Peter Wollny: Neue Bach-Funde. BJ 1997, S. 7-50 Maria Hübner: Neues zu Johann Sebastian Bachs Reisen nach Karlsbad. BJ 2006, S. 93-108

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24

Hieb, Kimberly Beck. "Andreas Werckmeister's Musicalische Paradoxal-Discourse: A Well-Tempered Universe trans. by Dietrich Bartel." Notes 75, no. 4 (2019): 646–48. http://dx.doi.org/10.1353/not.2019.0034.

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25

Darbon, Nicolas. "Tom Johnson : le simple du village." Articles 29, no. 1 (February 3, 2010): 6–16. http://dx.doi.org/10.7202/039107ar.

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Résumé Tom Johnson est un compositeur né à Chicago mais résidant en France, où il connaît une relative notoriété, grâce notamment au succès de ses opéras. Son cas est pourtant intéressant en tant que manifestation anachronique de la simplicité en musique — au sens donné à ce terme par les théories de la Complexité ou du Chaos. Élève de Morton Feldman, admirateur de Satie et de Cage, après avoir participé activement à la vie de l’école de New York par ses comptes rendus dans la célèbre revue The Village Voice, il a poussé la logique minimaliste dans l’un de ses ultimes retranchements. En effet, sa conception post-duchampienne de l’objet trouvé s’applique en particulier aux formules mathématiques qu’il musicalise de la façon la plus stricte, sans adjonction aucune de sentiment, sans interprétation, avec une dimension qui peut être ludique tout de même. Protestant pratiquant, Tom Johnson refuse l’auréole de compositeur, et lui préfère l’humble statut de « trouveur ». Le déterminisme implacable de ses trouvailles sonores, leur mécanique horlogère et désincarnée, contredisent bien des réflexes d’auditions et des habitudes esthétiques. Ainsi la « voix du Village » sonne-t-elle étrangement « simple » dans le fatras grandiloquent de l’intellectualisme européen.

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26

Hellégouarch, Solenn. "David Cronenberg et Howard Shore. Bref portrait d’une longue collaboration." Revue musicale OICRM 2, no. 2 (June 6, 2019): 96–114. http://dx.doi.org/10.7202/1060132ar.

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Après 45 ans de carrière, la filmographie de David Cronenberg compte 22 films, dont 15 ont été musicalisés par Howard Shore, qui a rejoint l’équipe du cinéaste en 1979. Si l’univers cronenbergien est aujourd’hui bien connu, l’apport de son compositeur demeure peu exploré. Or, la musique semble y jouer un rôle de toute première importance, le compositeur étant impliqué très tôt dans le processus cinématographique. Cette implication précoce est indicatrice du rôle central qu’occupent Shore et sa musique : comment le définir ? Plutôt que de recourir à une analyse des fonctions de la musique au cinéma, cet article explore les processus de création qui lui donnent naissance. Cronenberg et Shore, qui ont « tout appris en commun », présentent ainsi des processus créateurs aux traits similaires, ou plus exactement des figures artistiques communes, ici exposées, les regroupant sous une seule vision artistique : l’autodidacte, l’expérimentateur, l’improvisateur, le peintre/sculpteur et l’artiste-artisan.

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27

Sergent, Marion. "De la toile à l’écran : une surface de projections psychiques pour les artistes musicalistes." Marges, no. 31 (October 20, 2020): 14–25. http://dx.doi.org/10.4000/marges.2268.

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28

Wollny, Peter. "Beobachtungen am Autograph der h-Moll-Messe." Bach-Jahrbuch 95 (March 13, 2018): 135–51. http://dx.doi.org/10.13141/bjb.v20091863.

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Der Artikel stellt verschiedene Beobachtungen am Manuskript P 180 von BWV 232 zusammen. Dabei wird besonders eine Beteiligung Johann Christoph Friedrich Bachs an der Niederschrift erörtert und mittels verschiedener Ansätze zu belegen versucht. Abschließend werden an diese These anknüpfende Überlegungen vorgestellt, die den Entstehungszeitraum und die Frage einer konkreten Aufführungsabsicht und Auftraggeberschaft betreffen. Erwähnte Artikel: Hans-Joachim Schulze: Frühe Schriftzeugnisse der beiden jüngsten Bach-Söhne. BJ 1963/64, S. 61-69 Peter Wollny: Neue Bach-Funde. BJ 1997, S. 7-50 Michael Maul, Peter Wollny: Quellenkundliches zu Bach-Aufführungen in Köthen, Ronneburg und Leipzig zwischen 1720 und 1760. BJ 2003, S. 97-142 Christoph Wolff: Johann Sebastian Bachs Regeln für den fünfstimmigen Satz. BJ 2004, S. 87-100 Andreas Glöckner: Johann Sebastian Bach und die Universität Leipzig - Neue Quellen (Teil I). BJ 2008, S. 159-202 Michael Maul: "Die große catholische Messe". Bach, Graf Questenberg und die "Musicalische Congregation" in Wien. BJ 2009, S. 153-176

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29

Le Bihan, Loig. "Muances de l’écoute. À propos de L’homme sans passé d’Aki Kaurismaki." Revue musicale OICRM 5, no. 1 (April 9, 2018): 46–62. http://dx.doi.org/10.7202/1044443ar.

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Au début deL’homme sans passé(Kaurismaki 2002), il est un plan « musicalisé » qui peut occasionner un étrange effet qu’on dira demonumentalisation. Afin de qualifier l’effet au plus juste, je proposerai d’abord un balisage systématique de différentes fonctions que la musique endosse régulièrement dans ce film « musical » – nommément des fonctions épique (au sens brechtien), pathétique et éthique (aux sens aristotéliciens). J’en viendrai enfin à la description de cette singulière « muance » dans mon écoute, occasionnée par ce plan monté à la toute fin d’une scène d’agression qui voit un pauvre homme, soudeur de métier, laissé pour mort. Une musique symphonique qui jusqu’ici émanait d’une petite radio portative acquiert soudainement l’ampleur d’une musique de fosse alors que l’image nous montre la lamentable dépouille négligemment recouverte de sa valise et de son masque. Donnée à entendre à pleine puissance la symphonie, alors, interfère avec l’image pour en constituer l’équivoque figurative.

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30

Gueraud-Pinet, Guylaine. "Pratiques de réception des images musicalisées télévisuelles sur les réseaux socionumériques. Analyse des tweets des téléspectateurs d." Communiquer. Revue de communication sociale et publique, no. 27 (December 31, 2019): 79–97. http://dx.doi.org/10.4000/communiquer.4694.

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31

VAN EMDEN, W. G. "Review. L'Art metrique de la chanson de geste: Essai sur la musicalite du recit. Heinemann, Edward A." French Studies 49, no. 3 (July 1, 1995): 321. http://dx.doi.org/10.1093/fs/49.3.321.

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32

Larsen, Charlotte Rørdam. "Recycling sound in Commercials." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2, no. 1 (April 2, 2012): 22–43. http://dx.doi.org/10.7146/se.v2i1.5184.

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Commercials offer the opportunity for intergenerational memory and impinge on cultural memory. TV commercials for foodstuffs often make reference to past times as a way of authenticating products. This is frequently achieved using visual cues, but in this paper I would like to demonstrate how such references to the past and ‘the good old days’ can be achieved through sounds. In particular, I will look at commercials for Danish non-dairy spreads, especially for OMA margarine. These commercials are notable in that they contain a melody and a slogan – ‘Say the name: OMA margarine’ – that have basically remained the same for 70 years. Together these identifiers make OMA an interesting Danish case to study. With reference to Ann Rigney’s memorial practices or mechanisms, the study aims to demonstrate how the auditory aspects of Danish margarine commercials for frying tend to be limited in variety: in general, the soundtracks of margarine commercials seem to merge into one, they are somewhat alike. The OMA commercials are no exception, but the OMA melody makes a distinction. In general the soundtracks of OMA margarine commercials (and the use of melody) seem to have shifted from using a predominantly semantic causal soundtrack to tracks using aesthetic and musicalised elements which are supposed to arouse more sensuous feelings in the consumers.

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33

Reichel, A. Elisabeth. "Fictionalising music/ musicalising fictionThe integrative function of music in Richard Powers’ The Time of Our Singing." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 4, no. 1 (December 15, 2014): 144–60. http://dx.doi.org/10.7146/se.v4i1.20485.

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Twentieth-century scholars tended to describe music either in constructivist terms, as a culturally produced system of signs without real effects, or in essentialist terms, as a universal force detached from sociocultural contexts. Recently, however, the field of sound studies has raised new awareness of the fact that music is, at its core, sound. It is thus both culturally constructed and ineluctably material. Given this shift in the scholarly conception of music, a reassessment of its functions is needed. Starting from the notion that music is a complex system of cultural meanings and concrete sounds, this article investigates its integrative function, that is, the notion that music is able to connect individuals from diverse backgrounds and to integrate them into a community. Richard Powers’ novel The Time of Our Singing (2003) provides a valuable platform for reassessing the integrative function of music, as it unfolds it on two different levels at the same time. On its narrative level the novel insists on the long-term failure of music in uniting people from different racial backgrounds. Yet, by being also a piece of musicalised fiction and, hence, musical itself, the novel tests this function on its aesthetic level as well. It thus shows that, while failing to integrate socially divided people in the long run, in its aesthetic experience, at least, music is able to bring them together for as long as the performance last

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34

Andersson, Bo, Johann Kuhnau, and James Hardin. "Der Schmid Seines eignen Ungluckes [1695]. Des klugen und Thorichten Gebrauches Der funf Sinnen Erster Theil vom Fuhlen [1698]. Der Musicalische Quack-Salber [1700]. Ausgewahlte Werke." German Quarterly 68, no. 3 (1995): 320. http://dx.doi.org/10.2307/408255.

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LEE, DAVID. "DIETRICH BARTEL, TRANS. AND ED. ANDREAS WERCKMEISTER'S MUSICALISCHE PARADOXAL-DISCOURSE: A WELL-TEMPERED UNIVERSE Lanham, MD: Rowman & Littlefield, 2017 pp. xv + 157, isbn978 1 498 56634 6." Eighteenth Century Music 16, no. 1 (February 14, 2019): 53–55. http://dx.doi.org/10.1017/s1478570618000349.

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Spellerberg, Gerhard. "JOHANN KUHNAU. Ausgewählte Werke. Bd. I-III. Hrsg. u. eingel. von James Hardin. Bd. I: Der Schmid seines eignen Unglückes. Faksimiledruck der Ausgabe von 1695 - Bd. II: Des klugen und thörichten Gebrauches der fünf Sinnen: Erster Theil Vom Fühlen. Faksimiledruck der Ausgabe von 1698 - Bd. III: Der musicalische Quacksalber. Faksimiledruck der Erstauflage von 1700. - Bern u.a.: Lang 1992. (= Nachdrucke deutscher Literatur des 17. Jahrhunderts. Bd. 57. 58. 59.) XI, 45 u. 515 S.; 16 u. 252 S.; 69 u. 534 S. DM 275,-; 191,-; 281,-." Daphnis 22, no. 2-3 (March 30, 1993): 551–52. http://dx.doi.org/10.1163/18796583-90000571.

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Guido, Laurent. "Le Dr Ramain, théoricien du « musicalisme »." 1895. Mille huit cent quatre-vingt-quinze, no. 38 (October 1, 2002). http://dx.doi.org/10.4000/1895.220.

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"Ravenea musicalis." CABI Compendium CABI Compendium (January 7, 2022). http://dx.doi.org/10.1079/cabicompendium.46864.

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Kokole, Metoda. "The dances of Posch's collection Musicalische Ehrenfreudt as functional music / Plesi Poscheve zbirke Musicalische Ehrenfreudt kot uporabna glasba." De musica disserenda 2, no. 2 (June 9, 2015). http://dx.doi.org/10.3986/dmd02.2.07.

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Jaakkola, Inkeri. "Musiikillistettua teatteria." Musiikki 52, no. 3 (September 27, 2022). http://dx.doi.org/10.51816/musiikki.121965.

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Hitler and Blondi: A Musicalised, Postdramatic Theatre Performance This article examines how music explores the central concepts of the postdramatic theatre work Hitler ja Blondi: kolmetoista laulua diktaattorille, saksanpaimenkoiralle ja pianolle (“Hitler and Blondi: Thirteen Songs for a Dictator, a German Shepherd and one Piano”), a co-production of the TTT-theatre in Tampere (premiered 19 Feb, 2020) and the Finnish National Theatre in Helsinki (fall season 2021). Due to COVID-19 restrictions several performances were postponed, and the commercial live recording was released for private use. Michael Baran’s non-linear script consists of both documentary and fictional texts throughout 13 scenes (called “songs”), a prologue and an epilogue. Some periods of the dictator’s life are narrated as monologues. Hitler’s role is especially written for a blond, elderly Finnish actress, Seela Sella, who is Jewish herself. The music is designed and composed by Juhani Nuorvala and Juhani Liimatainen with Kyösti Kallio as sound engineer. Since the cornerstones of the performance’s structure, aesthetics and theatrical means are transcoded from musical sign system, Hitler ja Blondi is approached as a musicalised theatre work. The fundamental poetic idea of Hitler ja Blondi is the dialectic counterpoint between fascism and its opposing ideologies and aesthetics – represented musically through the opposed aesthetics of Richard Wagner and Karlheinz Stockhausen. Furthermore, the structure of the script resembles German Lied cycles, and the chained occurrences of Stockhausen’s Klavierstücke correspond to the recurrent refrain in rondo form. In general, the music and its large intertextual network is one of the performance’s central narrative means, and it opens up the potential for interpretation. Drawing from the recent theories and methodologies of music analysis and theatre studies, this article focuses on discussing 1) how popular songs and Stockhausen’s Klavierstücke extend the performance’s temporalities, thereby expressing the timelessness of fascism; 2) how the music presents Hannah Arendt’s view of the banality of evilness in Nuorvala’s Puolueohjelmalaulu (“The Song of Nazy Party’s Program”); and 3) how the author of this article experiences the dialectic counterpoint differently through life performance, and through the video recording.

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Marandi, Yasaman Mashhadi Hashem, Hedieh Sajedi, and Sepehr Pirasteh. "A novel method to musicalize shape and visualize music and a novel technique in music cryptography." Multimedia Tools and Applications, October 28, 2020. http://dx.doi.org/10.1007/s11042-020-09962-8.

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Thurlow, Alan, and Jon Baggaley. "Mechanisms of absolute pitch: II. Pitch shift and perfect touch." Musicae Scientiae, February 8, 2022, 102986492110725. http://dx.doi.org/10.1177/10298649211072505.

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The previous article in this series reviewed the historical and modern academic literature concerning the distinctive characteristics of individual musical notes and keys. It stressed Bachem’s definition of tone chroma (TC) as the quality that allows notes/keys to be identified instantly and accurately by musicians possessing the type of absolute pitch (AP) that Bachem described as genuine. TC qualities were shown to vary in the same systematic manner as the second-order acoustical beats predicted to accumulate during the tuning of instruments to equal temperament. This article offers further evidence for the connection between TC and acoustical sensitivity, as indicated by an examination of paracusis musicalis (PM), the shifting of the pitch sense with age to a level sharper or flatter than its original level. It is also noted that AP judgments have been shown to be based on kinaesthetic and tactile sensations, which perform the same cueing functions as auditory TC, and that types of AP judgment may, therefore, exist not typically identified as absolute: for example, an absolute or perfect touch capacity observed in keyboard players. Evidence of this capacity supports the theory of instrument-specific AP.

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Pister, Aleksandra. "Musical interpretation of Hezekiah’s illness in Johann Kuhnau’s Biblical sonata." Menotyra 26, no. 3 (October 6, 2019). http://dx.doi.org/10.6001/menotyra.v26i3.4055.

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The article discusses Johann Kuhnau’s fourth keyboard sonata, Der todtkranke und wieder gesunde Hiskias (The Mortally Ill and Then Restored Hezekiah), from his last volume of six keyboard sonatas published in Leipzig in 1700, known popularly as “Biblical Sonatas.” Titled as Musicalische Vorstellung einiger biblischer Historien (Musical Representation of Several Biblical Stories), the set presents a remarkably thorough and detailed musical depiction of selected scenes from the Old Testament. This is also a rare collection of keyboard music to provide a detailed narrative commentary, consisting of verbal synopses of selected stories in German, which preface each sonata, and commentaries in Italian written into notation, which underline portrayed situations, events and affections. To examine the plot-based narrative underlying the storyline of this particular sonata, some authentic discourses have been taken into consideration for analytical purposes. These included the composer’s foreword to the collection of his “Biblical Sonatas,” synopsis of the story depicted in the fourth sonata, and a comprehensive theory of musical rhetoric and the doctrine of the affections found in various 17th and 18th century sources. In this article, the author specifies distinct musical-rhetorical figures that resemble (by analogy) or refer to certain extra-musical objects or phenomena and serve as vehicles for creating different moods and establishing the atmosphere. Depending on which narrative element – action or affections – is brought into focus in each of the six sonatas, the author distinguishes between two types of sonatas, namely ‘action sonatas’ and ‘affective sonatas.’ Affections and shifts in mood experienced by Hezekiah make an important narrative element in the storyline of the fourth sonata. Hence this particular sonata falls under the category of ‘affective sonatas.’ The analysis of this sonata revealed that the narrative is constructed therein in several layers. Firstly, there is a verbal layer: to depict the story in detail and with much consistency, the composer thought it necessary to accompany notation with the synopsis of the story and verbal commentaries. Moreover, quotations from the Protestant chorale Ach Herr mich armen Sünder (Ah Lord, poor sinner that I am) imply verbal connotations of their verses. Secondly, it contains a musical-affective layer: musical devices (such as musical-rhetorical figures, key, rhythm, metre, and the like) are employed there to convey the indicated affections, such as wailing (lamento) or, in other words, sorrow, confidence (confidenza) and joy (allegrezza). The author observes that many compositional choices made by Kuhnau adhere to the standard methods of expressing affects as they were defined in the Baroque treatises. Thirdly, there is an associative layer: certain fragments and elements resemble (by analogy) and refer to extra-musical objects and/or phenomena, such as Belshazzar’s face turning pale and his limbs trembling in terror, the sesquialtera ratio (3:2), which symbolizes the numerical proportion of steps on Ahaz’s sundial and the years of Hezekiah’s life. The alternating musical textures, normally associated with sadness (adagio) and merriment (allegro), can be also mentioned as a characteristic narrative feature in this sonata. Although Kuhnau claimed to have depicted Biblical stories according to his own imagination, the analysis revealed that his writing in this sonata does not veer away from the typical musical vocabulary of the Baroque era, which nowadays requires a more sensitive ear and keener insight into compositional conventions of the period.

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