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Journal articles on the topic 'Bass clarinet'
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1
Rickards, Guy. "LEE HYLA." Tempo 58, no. 230 (October 2004): 86–87. http://dx.doi.org/10.1017/s0040298204290337.
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Mead, Andrew, and Milton Babbitt. "My Ends Are My Beginnings [for] Clarinet in B-Flat (Bass Clarinet) Solo (1978)." Notes 51, no. 4 (June 1995): 1461. http://dx.doi.org/10.2307/899158.
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Etkin, Mariano, and María Cecilia Villanueva. "Un "error" en Bass Clarinet and Percussion de Morton Feldman." Revista del ISM, no. 10 (December 2, 2005): 56–61. http://dx.doi.org/10.14409/ism.v1i10.551.
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Johnson, David. "Edinburgh: Lyell Cresswell's ‘Good angel, bad Angel’." Tempo 59, no. 234 (September 21, 2005): 40–41. http://dx.doi.org/10.1017/s0040298205240305.
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Good angel, bad angel is a new 1-act opera, premièred in Edinburgh on 20 May and toured to Glasgow, Peebles and Inverness on 21, 23 and 25 May; it received four performances in all. It lasts almost exactly an hour, and is scored for the slenderest forces imaginable – three singers covering six roles, and an orchestra of four players (bass clarinet doubling B flat clarinet, violin, viola, cello). The story is nasty, centring on the pointless murder of a miserly old shopkeeper on Christmas Day; it slightly reminds one of A Christmas Carol, except that it completely lacks Dickens's optimism and hope. The opera supposedly ends with the central character's redemption, but this is ambiguous and pretty hard to follow.
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Jaatinen, Jussi, Jukka Pätynen, and Tapio Lokki. "Uncertainty in tuning evaluation with low-register complex tones of orchestra instruments." Acta Acustica 5 (2021): 49. http://dx.doi.org/10.1051/aacus/2021045.
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The relationship between perceived pitch and harmonic spectrum in complex tones is ambiguous. In this study, 31 professional orchestra musicians participated in a listening experiment where they adjusted the pitch of complex low-register successively presented tones to unison. Tones ranged from A0 to A2 (27.6–110 Hz) and were derived from acoustic instrument samples at three different dynamic levels. Four orchestra instruments were chosen as sources of the stimuli; double bass, bass tuba, contrabassoon, and contrabass clarinet. In addition, a sawtooth tone with 13 harmonics was included as a synthetic reference stimulus. The deviation of subjects’ tuning adjustments from unison tuning was greatest for the lowest tones, but remained unexpectedly high also for higher tones, even though all participants had long experience in accurate tuning. Preceding studies have proposed spectral centroid and Terhardt’s virtual pitch theory as useful predictors of the influence of the envelope of a harmonic spectrum on the perceived pitch. However, neither of these concepts were supported by our results. According to the principal component analysis of spectral differences between the presented tone pairs, the contrabass clarinet-type spectrum, where every second harmonic is attenuated, lowered the perceived pitch of a tone compared with tones with the same fundamental frequency but a different spectral envelope. In summary, the pitches of the stimuli were perceived as undefined and highly dependent on the listener, spectrum, and dynamic level. Despite their high professional level, the subjects did not perceive a common, unambiguous pitch of any of the stimuli. The contrabass clarinet-type spectrum lowered the perceived pitch.
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Zaidel-Rudolph, Jeanne. "Lifecycle: Flute (piccolo), oboe, clarinet (bass clarinet), bassoon, horn, 2 percussionists, 2 violins and cello, Xhosa vocal ensemble and indigenous instruments." Journal of Musical Arts in Africa 3, no. 1 (January 2006): 80–81. http://dx.doi.org/10.2989/18121000609486710.
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Coyle, Whitney L., Evangelina Y. Wong, Jack D. Gabriel, and Connor N. Kaplan. "A computational method to determine transition times for soprano and bass clarinet players." Journal of the Acoustical Society of America 150, no. 4 (October 2021): A211. http://dx.doi.org/10.1121/10.0008145.
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Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE." Tempo 58, no. 229 (July 2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.
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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolkosky (vln), 14Ida Mercer (vlc), 15Cavani String Quartet. New World 80606-2.CHEN YI: Momentum; Chinese Folk Dance Suite for violin and orchestra1; Dunhuang Fantasy for organ and chamber wind ensemble3; Romance and Dance for 2 violins and string orchestra1,2; Tu. 1Cho-Liang Lin (vln), 2Yi-Jia Susanne Hou (vln), 3Kimberley Marshall (org), Singapore SO c. Lan Shui. BIS-CD-1352.SADIE HARRISON: The Light Garden for mixed quintet1; The Fourteenth Terrace for clarinet and ensemble2; Bavad Khair Baqi! for solo violin3. Traditional Afghan Music4. 1Tate Ensemble, 2Andrew Spalding (cl), Lontano c. Odaline de la Martinez, 3Peter Sheppard Skærved (vln), 4Ensemble Bakhtar. Metier MSV CD92084.MISATO MOCHIZUKI: Si bleu, si calme1; All that is including me for bass flute, clarinet and violin1,2,3; Chimera; Intermezzi I for flute & piano1,4; La chamber claire. 1Eva Furrer (fl, bass fl), 2Bernhard Zachhuber (cl), 3Sophie Schafleitner (vln), 4Marino Formenti (pno), Klangforum Wien c. Johannes Kalitzke. Kairos 0012402KAIONUTE NARBUTAITE: Symphony No. 2; Liberatio for 12 winds, cymbals & 4 strings; Metabole for chamber orchestra. Lithuanian National SO c.Robertas Fervenikas. Finlandia 0927-49597-2.ALLA PAVLOVA: Symphony No. 1, Farewell Russia1,3,4; Symphony No.32,3,5. 1Leonid Lebedev (fl), Nikolay Lotakov (picc), Mikhail Shestakov (vln), Valery Brill (vlc), Mikhail Adamovich (pno); 2Olga Verdernikova (vln), 3Russian PO c. 4Konstantin D. Krimets, 5Alexander Vedernikov. Naxos 8.557157.‘APPARENZE: Collana di Nuove Musiche 1997’. Works by SILVIA DELITALA, RITA PORTERA, CATERINA DE CARLO, BEATRICE CAMPODONICO, PAOLA CIAR-LANTINI, JANET MAGUIRE, MARCO SANTAM BROGIO, PAOLO MINETTI, FEDERICO MONTAGNER, RINALDO BELLUCCI and BIAGIO PUTIGNANO. Maria Vittoria Vallese (sop), Pia Zanca, Fiametta Facchini, Rinaldo Bellucci (pnos), Duo Soncini-Flückiger, Italian Guitar Quartet, Ensemble Paul Klee, Fabrizio Fantini, Gianluca Calonghi (cls), Giuseppe Giannotti (ob). Radio Onda d'Urto E.F.B 001.
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Stein, Robert. "Proms 2014: Holt and Widmann." Tempo 69, no. 271 (January 2015): 78–79. http://dx.doi.org/10.1017/s0040298214000722.
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How many flutes are there in Simon Holt's flute concerto Morpheus Wakes? Nominally one, here the amazing Emanuel Pahud, but more usefully two or more. Scored for alto as well as standard flute, Holt exploits the timbral possibilities of both while ensuring that the orchestra's own flautist (doubling bass flute) and alto flautist (doubling piccolo) continue the idea of ‘two-in-one’ so central to his other recent concerto Centauromachy for clarinet, flugelhorn and orchestra written in 2010 and given its London premiere at the 2011 Proms.
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McBride, Jerry L. "Schattenklange: Drei Stucke fur Bassklarinette, and: Espace/Brume pour marimba et clarinette basse, and: Engage the Mountain: [For] Clarinet (Bass Clarinet) and Percussion (1 Player), and: "I've Shook My Fists at the Sky" (Meditation and Agitation): [For] Clarinet Solo (review)." Notes 57, no. 4 (2001): 1015–18. http://dx.doi.org/10.1353/not.2001.0099.
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Byo, James L., Amanda L. Schlegel, and N. Alan Clark. "Effects of Stimulus Octave and Timbre on the Tuning Accuracy of Secondary School Instrumentalists." Journal of Research in Music Education 58, no. 4 (November 2, 2010): 316–28. http://dx.doi.org/10.1177/0022429410386230.
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To test the effects of octave and timbre on tuning accuracy, four stimuli—B-flat 4 sounded by flute, oboe, and clarinet and B-flat 2 sounded by tuba—functioned as reference pitches for high school wind players ( N = 72). The two stimulus octaves combined with participants’ assigned tuning notes created soprano, tenor, and bass tuning groups. All participants tuned to each instrument. Results indicated no effect due to tuning group. There was a significant difference due to stimulus. Participants’ responses were more out of tune to the tuba stimulus than to the oboe, clarinet, and flute stimuli, which were not different from each other. There was no difference in the distribution of in-tune, sharp, and flat responses across tuning stimuli, a result that differs from the “preference for sharpness” effect in previous research. Verbal and performance responses to the tuba, oboe, and flute stimuli revealed misconceptions between participants’ perceptions of tuning difficulty and actual performance difficulty and favored the use of oboe and flute as tuning references. Most of the participants (82%) reported tuning to the tuba as the prevalent approach to mass tuning in their school bands.
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Coyle, Whitney L., Evangelina Y. Wong, Jack D. Gabriel, and Connor N. Kaplan. "Computational determination of transition times using the measured mouthpiece pressure from soprano and bass clarinet players." JASA Express Letters 1, no. 5 (May 2021): 053201. http://dx.doi.org/10.1121/10.0004849.
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Trawick, Eleanor F., and Barbara Kolb. "Millefoglie for Instruments [Oboe, Assisting Oboe (Flute, Optional), B-Flat Clarinet, B-Flat Bass Clarinet (Doubling B-Flat Clarinet, Optional), Trombone, Perc. (2 Players-Vibraphone and Marimba), Harp, Cello] and Computer-Generated Tape (1985, Revised Sept. 1987)." Notes 48, no. 2 (December 1991): 690. http://dx.doi.org/10.2307/942094.
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Conway, Paul. "Manchester, Cosmo Rodewald Concert Hall: Gordon Crosse's L'enfant sauvage." Tempo 67, no. 266 (October 2013): 76–78. http://dx.doi.org/10.1017/s0040298213000910.
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Contemporary music ensemble Psappha gave three world premières in a concert at the University of Manchester's Cosmo Rodewald Hall on 8 March 2013. Their programme began with first performances of brief works by two young composers connected with the University. I Lost My Way in Dixieland, by Thomas Jarvis (b.1991), was a deftly realized deconstruction and reinvention of a popular jazz style, with a throwaway ending that made an apt parting gesture for a witty and enjoyable pastiche. And Sempadan, by Sayyid Shafiee (b.1987), made effective use of offstage trumpet and trombone interacting with on-stage clarinet, percussion and double bass, to suggest the concept of two different but complementary cultures.
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Veselinović-Hofman, Mirjana. "Silence As a Hermeneutic Oasis of Music." Musicological Annual 43, no. 2 (December 1, 2007): 333–57. http://dx.doi.org/10.4312/mz.43.2.333-357.
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This text is an attempt to point to the possibility of the moments of musical silence in a music flow and musical sound, being presented as a specific hermeneutic ‘oasis’ of music. Musical silence is considered here primarily as compositionally shaped segments where silence is embodied by means of sound. And where the stillness of the sound state of the musical silence breaks into another space: the space of the unintentional, which actually stimulates associative and cognitive paths. It concerns a specific ‘suspension’ space that offers ‘some more time and place’ for various streams of emotion and thoughts, for their ‘authentication’ and justification; for establishing and ‘specifying’ narratives, and even renouncing them. This thesis is elaborated here on the basis of three compositions which belong to the Serbian music of the 1990s. These are: The Abnormal Beats of Dogon for bass clarinet, piano, mouth harmonica, percussion and live electronics (1991) and I have not spoken for alto saxophone, bass-mouth harmonica, actor-narrator and mixed choir (1995) by Zoran Erić and Nocturne of the Belgrade Spring 1999 AD for chamber ensemble, live electronics and audiotape (1999) by Srđan Hofman.
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Carey, Christian. "Zeno Baldi - Zeno Baldi, Bonsai. Longoni Maurizio, clarinet; Mayr Manu, bass; Divertimento Ensemble, Sandro Gorli, conductor. Stradivarius CD STR 37101." Tempo 73, no. 289 (July 2019): 81–82. http://dx.doi.org/10.1017/s004029821900038x.
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Ван, Ч. "Performance and pedagogy of an ensemble of woodwind instruments." Management of Education, no. 2(48) (April 14, 2022): 37–43. http://dx.doi.org/10.25726/t5807-7274-9656-f.
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Кларнет – относительно молодой музыкальный духовой инструмент, который стал продолжателем исторического развития и начал активно использоваться в композиторском творчестве, а значит и в исполнительстве (создан этот музыкальный инструмент в середине XIX века). Для нашего исследования особенно интересным и значительным смысловым фактом является то, что использование этого колоритного по звучанию музыкального инструмента началось с ансамблевого исполнения, в группе духовых инструментов духового и оперного, а позже – симфонического оркестрах. Отечественная музыкально-исполнительская культура развивалась параллельно с мировыми жанрами, поэтому использование кларнета было естественным в ее исполнительской культуре, а с начала ХХ в. кларнет использовался в исполнении джазовой музыки, эстрадной и поп-музыки. В 20-е годы появляется промежуточный стиль между традиционным джазом и свингом, так называемый Чикагский стиль, в котором в оркестрах (этого музыкального направления) появляется (среди контрабаса, фортепиано, гитары) флейта. Выдающимся исполнителем стиля “free jass” (50-е – начало 60-х годов) был известный кларнетист Лео Райт, игра которого имела большое влияние на отечественных музыкантов. С целью реализации методики обучения игры на кларнете начинающих учеников было разработано компонентную структуру данного вида обучения, которое имело такие составляющие, а именно: познавательный ( что отражает потребность в коллективном исполнении музыкальных произведений и уровень овладения музыкально-историческими и музыкально-теоретическими знаниями), операционнотехнологический (овладение исполнительско-двигательными умениями и навыками, что отражает процесс "перекодировки звуковых образов в моторные", которые обеспечивают способность для создания условий для совместной ансамблевой деятельности; регулятивно-оценочный (отражает уровень сформированности способности к адекватной оценки результатов собственной деятельности ученика-кларнетиста, направленной на исполнение музыкальных произведений). The clarinet is a relatively young musical wind instrument, which became the successor of historical development and began to be actively used in composing, and therefore in performance (this musical instrument was created in the middle of the XIX century). For our research, a particularly interesting and significant semantic fact is that the use of this colorful-sounding musical instrument began with an ensemble performance, in a group of wind instruments of brass and opera, and later – symphony orchestras. The Russian musical and performing culture developed in parallel with the world genres, so the use of the clarinet was natural in its performing culture, and since the beginning of the twentieth century the clarinet has been used in the performance of jazz music, pop and pop music. In the 20s, an intermediate style appeared between traditional jazz and swing, the so-called Chicago style, in which the flute appears in orchestras (of this musical direction) (among the double bass, piano, guitar). An outstanding performer of the “free jass” style (the 50s - early 60s) was the famous clarinetist Leo Wright, whose playing had a great influence on Russian musicians. In order to implement the methodology of teaching clarinet playing to novice students, a component structure of this type of training was developed, which had such components, namely: cognitive (which reflects the need for collective performance of musical works and the level of mastery of musical-historical and musical-theoretical knowledge), operational-technological (mastery of performance-motor skills and skills, which reflects the process of "transcoding sound images into motor images", which provide the ability to create conditions for joint ensemble activity; regulatory and evaluative (reflects the level of formation of the ability to adequately assess the results of a clarinetist student's own activity aimed at performing musical works).
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Hernandez-Ruiz, Eugenia, Bianca James, Jordan Noll, and Evangelia G. Chrysikou. "What makes music relaxing? An investigation into musical elements." Psychology of Music 48, no. 3 (September 24, 2018): 327–43. http://dx.doi.org/10.1177/0305735618798027.
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Research on specific qualities of music used for relaxation has shown conflicting results. The use of different familiar or pre-composed pieces, with many simultaneous changes, might limit the ability to discriminate which musical element is responsible for the relaxation response. To address the latter, we examined the relaxing effects of music on three psychophysiological measures (heart rate, respiration rate, and skin conductance) with one original piece of music, and three modified versions (altering one musical element in each version). We investigated whether participants’ psychophysiological responses reflected a more “relaxed” state (lower heart rate, respiration rate, and skin conductance) with slower tempo (45 bpm), mellow timbre (bass clarinet), or smaller amplitude (-10 dB). We also investigated whether psychophysiological responses were consistent with self-report scores. Visual inspection of psychophysiological data indicated two distinct responder profiles, and a logistic regression confirmed this distinction. Using mixed ANCOVAs, we found significant differences between participants (responders and non-responders) in skin conductance level. No correlations between psychophysiological measures and self-reports were found. These findings raise interesting questions regarding the mechanisms behind the relaxing effects of music.
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Byo, James L., and Amanda L. Schlegel. "Effects of Stimulus Octave and Timbre on the Tuning Accuracy of Advanced College Instrumentalists." Journal of Research in Music Education 64, no. 3 (August 20, 2016): 344–59. http://dx.doi.org/10.1177/0022429416662451.
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The purpose of this study was to test the effects of octave and timbre on advanced college musicians’ ( N = 63) ability to tune their instruments. We asked: “Are there differences in tuning accuracy due to octave (B-flat 2, B-flat 4) and stimulus timbre (oboe, clarinet, electronic tuner, tuba)?” and “To what extent do participants’ posttuning perceptions of pitch accuracy align with actual pitch accuracy?” Participants were organized according to octave played in the tuning process, thus forming bass, tenor, and soprano groups. Results showed no significant effect due to group and no significant differences due to stimulus. There was no difference in the distribution of in-tune, sharp, and flat responses. Comparisons of participants’ performance accuracy and posttuning perceptions of task difficulty were favorable to the electronic tuner’s viability as a tuning stimulus and less so to the tuba stimulus. Participants’ responses to “describe how you know you are out of tune” and “describe the strategies you use to get in tune” brought to the foreground two observations of conceptual importance: tuning as four different and sometimes overlapping “experiences” and a self-imposed comparative strategy. Considered alongside previous research, results address developmental aspects of musicians’ tuning performance.
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Erwin, Max. "Karlheinz Stockhausen, aus LICHT, Holland Festival, 31 May–10 June 2019." Tempo 74, no. 291 (December 19, 2019): 99–101. http://dx.doi.org/10.1017/s0040298219000810.
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Why Karl Heinz [sic] Stockhausen entitled his music for oboe, bass clarinet, piano, and four percussionists Kreuzspiel is incomprehensible. Following a system of ‘static music’, the indefensibleness of which Theodor Adorno already demonstrated the previous year to its Flemish inventor, the sound of the piece goes far beyond that which we have been accustomed to call music. That he finds a few devotees to celebrate his work … doesn't change things a jot. Every idea finds its prophets. And its sect.Albert Rodemann, Darmstädter Tagblatt, 23 July 1952.Quoted and translated in Martin Iddon, New Music at Darmstadt, 84–85. In February 1971, so the story goes, a barefooted figure with a wizard's staff handed Karlheinz Stockhausen a copy of the Urantia Book, a dense, hugely esoteric text describing the spiritual place of mankind in the universe through chapters like ‘Socializing Influence of Ghost Fear’. Most people would probably have politely thanked the figure and then escaped as quickly as possible, but this is Stockhausen we're talking about, so he devoted the rest of his life to transforming Urantia into ‘music, libretto, dance, actions and movements’, as the programme to aus LICHT credits him.
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Reymore, Lindsey, Jason Noble, Charalampos Saitis, Caroline Traube, and Zachary Wallmark. "Timbre Semantic Associations Vary Both Between and Within Instruments." Music Perception 40, no. 3 (February 1, 2023): 253–74. http://dx.doi.org/10.1525/mp.2023.40.3.253.
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The main objective of this study is to understand how timbre semantic associations—for example, a sound’s timbre perceived as bright, rough, or hollow—vary with register and pitch height across instruments. In this experiment, 540 online participants rated single, sustained notes from eight Western orchestral instruments (flute, oboe, bass clarinet, trumpet, trombone, violin, cello, and vibraphone) across three registers (low, medium, and high) on 20 semantic scales derived from Reymore and Huron (2020). The 24 two-second stimuli, equalized in loudness, were produced using the Vienna Symphonic Library. Exploratory modeling examined relationships between mean ratings of each semantic dimension and instrument, register, and participant musician identity (“musician” vs. “nonmusician”). For most semantic descriptors, both register and instrument were significant predictors, though the amount of variance explained differed (marginal R2). Terms that had the strongest positive relationships with register include shrill/harsh/noisy, sparkling/brilliant/bright, ringing/long decay, and percussive. Terms with the strongest negative relationships with register include deep/thick/heavy, raspy/grainy/gravelly, hollow, and woody. Post hoc modeling using only pitch height and only register to predict mean semantic rating suggests that pitch height may explain more variance than does register. Results help clarify the influence of both instrument and relative register (and pitch height) on common timbre semantic associations.
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Shipsey, Laura. "Ian Mitchell - Ian Mitchell: Bass Clarinet and Friends: a miscellany. Frances-Hoad, Harrison, Harvey, Roe, D. Smith, W.O. Smith, Watkins, White, York Bowen. Métier MSV 28579." Tempo 73, no. 288 (March 18, 2019): 98–99. http://dx.doi.org/10.1017/s0040298218001122.
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Lajic-Mihajlovic, Danka. "The history of the three-part bagpipes in the light of migrations." Muzikologija, no. 3 (2003): 13–25. http://dx.doi.org/10.2298/muz0303013l.
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Three-part bagpipes could be designated as multinational musical instruments since they are and were found in Serbia, Croatia, Hungary, Slovakia, the Ukraine and Romania. In order to determine the movement of their circulation in the past, it is important to investigate the influences that the different cultures had on one another. The central area of the vast territory where they were used coincides with the territory of Hungary when it was part of the Austrian Empire. From that fact it can be deduced that the presence of bagpipes as a common cultural element was the result of the influence of the Hungarian conquest. Another interpretation is based on data concerning Serbian migrations. The area where three-part bagpipes are spread significantly coincides with that of Serbian cultural influences. This finding is supported by linguistic research. The instrument related to bag-pipes, the double clarinet ("diple"), a traditional instrument of the Serbs, and the singing "on the bass" (a vocal counterpart of the harmonical structure of three-part bagpipes), mark the musical features that are characteristic only of Serbs and Croats, and are not found among other peoples that use three-part bagpipes. It is a delicate matter to differentiate the roles of those two peoples because of their common origins and centuries of close proximity on the territory that has recently gained the status of the republic of Croatia. However, on the basis of known data it seems that the key-role was played by Serbs. Such research is important for investigating typologies and stylistic stratigraphies of Serbian traditional music.
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Heaton, Roger. "Klangforum Wien, Wien Modern, Wiener Konzerthaus, 13 November 2019." Tempo 74, no. 292 (March 6, 2020): 82–83. http://dx.doi.org/10.1017/s0040298219001281.
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The thirty-second Wien Modern was an extraordinary month-long festival of concerts and events with almost 90 world and Austrian premieres. The excellent Klangforum Wien programme at the Wiener Konzerthaus, conducted by Bas Wiegers, was well attended by an enthusiastic and mostly young-ish audience, where the focus was two first performances for large ensemble: Klaus Lang's linea mundi and Mirela Ivičević's Sweet Dreams. The evening was, in fact, billed as being ‘in honour’ of Ivičević who had won the Erste Bank Composition Prize 2019 with this piece. Ivičević is a Croatian composer now living in Vienna and her work shows an involvement with big themes: politics, diversity and violence, among others. Apart from concert pieces she works with different media and takes by-products of popular trash culture often as a starting point for her work. In interviews she has talked about the ‘subversive potency of sound’, and said that her work is ‘raw, imperfect, unpolished’, which this piece, and other recent examples you can hear on YouTube, demonstrate, despite her quite rigorous musical education in Zagreb and Vienna. Sweet Dreams is a lively, noisy, busy piece about the rapid change between sleep and waking states. The large ensemble, including harmonium, electric guitar and harp, opens with monumental repeated sections, dramatic but with a sense of direction toward slow, strong, pedal entries. Rough punctuation from alto saxophone, bass clarinet and trumpet adds to the ‘rawness’ but the writing is assured with a particular, individual imagination and sense of colour that bodes well for future work.
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Asaulyuk, I. O., and A. A. Diachenko. "Особенности физической подготовленности студентов учебных заведений в процессе физического воспитания." Health, sport, rehabilitation 5, no. 1 (March 30, 2019): 9. http://dx.doi.org/10.34142/hsr.2019.05.01.01.
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<p><em>The main goal of the work</em> is to study the level of physical fitness of students of music specialties. The objectives of the study reflect the gradual achievement of the goal. It also gives the analysis of the static strength endurance of the muscles of the body <em>Methods of research</em>: analysis and generalization of data in literature, pedagogical methods of research (experiment, testing), methods of mathematical statistics. 154 students of the first and second year of the Vinnitsa School of Culture and Arts named after M. D. Leontovich participated in the pedagogical experiment. Such as students of the specialty “Music Art”, the specializations “piano, orchestra, string instruments” (violin, viola, cello, double bass); “Orchestral wind instruments and percussion instruments” (flute, oboe, clarinet, bassoon, saxophone, horn, trumpet, trombone, tubo, percussion instruments), “folk instruments” (accordion, accordion, domra, bandura, guitar); “Vocal, choral conducting”. <em>Results</em><em>.</em><strong> </strong> It is noted that the level of work capacity, health status and occupations depends on the effectiveness of their physical education. It is possible to increase the effectiveness of the process of physical education of students through optimization and development of professionally important physical qualities. Student’s educational and further activity of the specialty "Musical art" provides an unpleasant work pose and peculiarities of the manifestation of physical qualities, which level of development depends on the effectiveness of professional activity. <em>Findings.</em> The estimation of indicators of the physical readiness of students with the use of battery tests, which characterize the static strength endurance of the muscles of the torso is evaluated. Evaluation of the students' physical fitness made it possible to determine the general tendency of significant deterioration of the indicators for the period of study. </p>
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Rickards, Guy. "New Releases of music by Women Composers." Tempo 59, no. 231 (January 2005): 74–80. http://dx.doi.org/10.1017/s0040298205260072.
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CECILIE ØRE: A. – a shadow opera. Joachim Calmeyer, Anneke von der Lippe, Tilman Hartenstein, Henrik Inadomi, Lakis Kanzakis, Rob Waring (voices). Aurora ACD 5034.BETH ANDERSON ‘Swales and Angels’: March Swale1; Pennyroyal Swale1; New Mexico Swale2,1,3; The Angel4,1,5,6,8; January Swale1; Rosemary Swale1; Piano Concerto6,1,7,3,8. 1Rubio String Quartet, 2Andrew Bolotowsky (fl, picc), 3David Rozenblatt (perc), 4Jessica Marsten (sop), 5Joseph Kubera (vc, pno), 6André Tarantiles (hp), 7Darren Campbell (bass), c. 8Gary M. Scheider. New World 80610-2.RAGNHILD BERSTAD: Anstrøk for violin and cello1; Krets for orchestra9; Respiro for clarinet and tape2; Zeugma for ensemble3; Toreuma for string quartet4; Verto for voice, cello & percussion5,6,7; Emutatio for voice, chorus and orchestra5,8,9. 1Kyberia, 2Lars Hilde (cl), 3Affinis Ensemble, 4Arditti String Quartet, 5Berit Ogheim (voice), 6Lene Grenager (vc), 7Cathrine Nyheim (perc), 8Oslo Chamber Choir, 9Norwegian Radio Orchestra c. Christian Eggen. Aurora ACD 5021.TAILLEFERRE: Works for piano. Cristiano Ariagno (pno). Timpani 1C1074.‘Sweetly I Rejoice: Music based on Songs and Hymns from Old Icelandic Manuscripts’ by HILDIGUNNUR RÚNARSDÒTTIR, MIST THORKELSDÒTTIR, THÒRDUR MAGNÚSSON, JÒN GUDMUNDSSON, ELÍN GUNNLAUGSDÒTTIR and STEINGRÍMUR ROHLOFF. Gríma Vocal Ensemble. Marta Gudrún Halldórsdóttir (sop), EThos String Quartet. Instrumental Ensemble c. Gunnstein Òlafsson. Smekkleysa SMK31 (2-CD set).‘I Start My Journey’: Sacred music by Anon, SMÁRI ÓLASON, ELÍN GUNNLAUGSDÒTTIR, STEFÁN ÓLAFSSON, JAKOB HALLGRIMSSON, BARA GRÍMSDÒTTIR, HRÒDMAR INGI SIGURBJÖRNSSON, GUNNAR REYNÍR SVEINSSON. Kammerkor Sudurlands c. Hilmar Örn Agnarsson. Smekkleysa SMK17.‘New Zealand Women Composers’. DOROTHY KER: The Structure of Memory. JENNY McLEOD: For Seven. GILLIAN WHITEHEAD: Ahotu (O Matenga). ANNEA LOCKWOOD/Lontano: Monkey Trips (1995). Lontano c. Odaline de la Martinez. LORELT LNT116.SPAIN-DUNK: Phantasy Quartet in D minor. BEACH: String Quartet in one movement. SMYTH: String Quartet in E minor. Archaeus String Quartet. Lorelt LNT114.SAARIAHO: Du cristal…a la fumée1–3; Nymphaea4; Sept Papillons2. 1Petri Alanko (alto fl), 2Anssi Karttunen (vlc), 3Los Angeles PO c. Esa-Pekka Salonen, 4Kronos Quartet. Ondine ODE 1047-2.
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Wright, David, Roger Heaton, Simon Limbrick, and Dave Smith. "Reich: New York Counterpoint; Bryars: Three Elegies; Feldman: Bass Clarinet and Percussion; Ennio Morricone: Cinema Paradiso; Walter Zimmermann: 25 Karwa Melodien; Tom Johnson: Two Rational Melodies; Glyn Perrin: Like He Never Was; Christopher Fox: Stone: Wind: Rain: Sun." Musical Times 135, no. 1820 (October 1994): 646. http://dx.doi.org/10.2307/1003138.
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Hall, Michael. "Birtwistle's ‘Pulse Shadows’." Tempo, no. 204 (April 1998): 12–13. http://dx.doi.org/10.1017/s0040298200006264.
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By alternating his Nine Movements for String Quartet with his Nine Settings of Paul Celan (for soprano, two clarinets, viola, cello and double bass) to produce Pulse Shadows, Harrison Birtwistle created not only his longest work for the concert hall but also his most moving and affirmative.
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González, Darleny, and Blas Payri. "A vowel-based method for vocal tract control in clarinet pedagogy." International Journal of Music Education 35, no. 3 (February 3, 2017): 435–45. http://dx.doi.org/10.1177/0255761416689840.
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Our review of scientific literature shows that the activity inside the clarinetist’s vocal tract (VT) affects pitch and timbre, while also facilitating technical exercises. Clarinetists adapt their VT intuitively and, in some cases, may compensate an inadequate VT configuration through unnecessary pressure, resulting in technical blockage, fatigue, and impeding progress. The pedagogical literature sometimes disregards the explicit use of the VT, but common trends exist, using specific vowel formations to model VT configurations. To understand the actual approach of the VT in practice, we interviewed 12 renowned clarinetists from different continents. While all interviewees consider VT configurations important, some find VT manipulation an intuitively acquired skill. Most instructors use vowels to teach VT configurations. We propose a normalized system: /a/ for chalumeau, /ɔ/ for throat register, /i/ for clarion, /ø/ for altissimo, /o/ as a base vowel, /ɔ/–/i/ for ascending leaps, /i/–/ɔ/ for descending intervals. We have applied this method to clarinet teaching at the conservatory with very encouraging results, as students easily understand the vowel system, and in relatively short time have achieved better sound quality and technical ease. Students have gained a conscious control of their VT and consequently have acquired a technique that they now use intuitively.
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Balbino, Evaldo. "Clarice: o espectro da falta no sopro insistente da escrita." Revista do Centro de Estudos Portugueses 22, no. 30 (June 30, 2002): 321. http://dx.doi.org/10.17851/2359-0076.22.30.321-330.
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<p>Este artigo busca, numa leitura de <em>Um sopro de vida, </em>livro póstumo de Clarice Lispector, discutir o conceito de escritura e o conceito de estilo, tomando-se por base alguns pressupostos da psicanálise.</p> <p>Este artículo busca, haciendo una lectura de <em>Um sopro de vida, </em>libro póstumo de Clarice Lispector, discutir los conceptos de escritura y de estilo, teniendo por base algunos presupuestos del psicoanálisis.</p>
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Meng, Yang, Grant McCarthy, Anthony Berthon, and Jerome Dinet. "VP133 Patient-Reported Health State Utilities In Neuroendocrine Tumours." International Journal of Technology Assessment in Health Care 33, S1 (2017): 210. http://dx.doi.org/10.1017/s0266462317003828.
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INTRODUCTION:Gastroenteropancreatic neuroendocrine tumours (GEP-NETs) are rare cancers most often found in the gastrointestinal system or the pancreas. However, patient-reported health state utilities based on clinical trials have not been previously reported in this disease area.METHODS:The CLARINET study collected the European Organization for Research and Treatment of Cancer (EORTC) QLQ-C30 data from patients in both stable and progressive disease states, although data for the latter were only available during the early stage of progression due to trial design. Using published algorithms, data were mapped to EQ-5D utility values. Random-effects generalized least squares models were used to investigate the impacts of progression status, tumour site and other patient characteristics on mapped utility values.RESULTS:In total, 1,053 observations from 204 patients were mapped to EuroQol (EQ-5D) utilities using the McKenzie mapping algorithm. The final random-effects model included age, gender, baseline utility and progression status as covariates; it was not feasible to investigate time-to-death utility due to a limited number of death in the CLARINET study. Tumour location (midgut versus pancreas) does not seem to affect utility. However, the difference in utilities based on progression status is statistically significant (p<.05) in the base case analysis, and the estimated utilities for stable and progressive disease are .776 and .726, respectively. Furthermore, scenario analyses showed that utility for progressive disease is numerically lower than for stable disease, but this may not be statistically significant in some scenarios.CONCLUSIONS:Patients with GEP-NETs experience worse utility values in the progressive disease state compared to the stable disease state, based on patient-reported health-related quality of life (HRQL) data from the CLARINET study. The decline of utility in the progressive disease state may be underestimated because progressive HRQL data were only collected shortly after the progression event in the trial. The estimated trial-based utilities can be used in future economic evaluations for GEP-NET treatments and to provide more insights to physicians on patient-reported quality of life outcomes in GEP-NETs.
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Cicovacki, Borislav. "Zora D. by Isidora Zebeljan: Towards the new opera." Muzikologija, no. 4 (2004): 223–45. http://dx.doi.org/10.2298/muz0404223c.
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Opera Zora D., composed by Isidora Zebeljan during 2002 and 2003, and which was premiered in Amsterdam in June 2003, is the first Serbian opera that had a world premiere abroad. It is also the first Serbian opera that has been staged outside Serbia since 1935, after being acclaimed at a competition organized by the Genesis Foundation from London. Isidora Zebeljan was commissioned (granted financial backing) to compose a complete opera with a secured stage realization. The Dutch Chamber Opera (Opera studio Nederland) and the Viennese Chamber Opera (Wiener Kammeroper) were the co-producers of the first production. The opera was directed by David Pountney, the renowned opera director, while an international team of young singers and celebrated artists assisted the co-production. The opera was played three times in Amsterdam. Winfried Maczewski conducted the Amsterdam Nieuw Ensemble whereas Daniel Hoyem Cavazza conducted the Wiener Kammeroper on twelve performances. The Viennese premier of Zora D. opened the season of celebrations, thus marking the 50th anniversary of the Wiener Kammeroper. The libretto, based on the script for a TV film by Dusan Ristic, was co-written by Isidora Zebeljan, Milica Zebeljan and Borislav Cicovacki. Speaking of genre, the libretto represents a m?lange of thriller, melodrama and mystery, with elements of fiction. The opera consists of the prologue and seven scenes. The story, set in the present-day Belgrade, also goes back to the 1930?s and the periods interweave. The opera was written for four vocalists: the soprano, the baritone, and two mezzo-sopranos. The chamber orchestra has fifteen musicians. The story: One summer day in 1935, Belgrade poetess Zora Dulijan mysteriously disappears. Sixty years later, Mina, an ordinary girl from Belgrade, quite unexpectedly becomes part of an incredible story, which gradually unravels as time goes by. Led by a dream (recurring night after night, with some vague verses about poplar trees and contours of a mysterious woman with a silver scarf being all that Mina remembers) she sets out to solve the mystery that seems to haunt her for no apparent reason. Part of the secret is also an invisible force, which Mina uses to gradually piece together the story of a great love that was brutally brought to an end 60 years ago and now seeks fulfillment. At the same time, Vida, a woman in her 80s, who has just returned to Belgrade from a long exile, begins to feel tortured and haunted by ghouls from the past, the very same she has been trying to escape all those years. Mina, desperate to solve the mystery, and Vida, in search of final rest and redemption, meet to disclose to us the answer and tell us what really happened to Zora D. The leading characters of the opera, whose main attribute is illusiveness, undergo transformation that is something rarely found in opera literature. This quality of the characters and the story, as well as the absence of a real drama in the libretto, matches the specific idea of a contemporary opera. Unlike composers who insist on giving characters psychological quality, thus reducing their emotions to clich?s for reasons of clarity, Isidora Zebeljan demonstrates a need for a completely different type of opera. Her idea is to have an opera which focuses on the sensual exploits of music itself. This is the very type of opera sought after by Isidora Zebeljan. The first and most striking feature of her music is a very unique melodic invention. Opera Zora D. could be described as a necklace of thickly threaded music pearls. Microelements of the traditional music from Serbia (Vojvodina), Romania and the south of the Balkans give her melodies a very special quality. Those elements, however, have not been taken over in their entirety, nor do they exist in the form that would link this music to any particular type of folk music. Music elements of the traditional music, incorporated in the music expression of Isidora Zebeljan, provide additional distinctiveness and the colour, while being experienced as an integral part of Zebeljan?s creative being which carries within itself the awareness of the composer?s musical roots. Melodic elements of the opera expressed in such a manner give form to vocal parts, which require of performers great musicality and perfect technique without compromising the nature of their vocal expression. Specific chords with a diminished fifth, resulting from the use of folk music scales with augmented second, give the opera a distinct harmonic quality. The rhythmic and metric components of music are complex, naturally stemming from the melody and are characterized by a mixture of rhythms and changeable metrics. The rhythmic patterns of percussion are incorporated in the whole by parallel lining up of melodic and rhythmic layers, so that they produce sonorous multiplicity. Very often the rhythmic elements have characteristics of a dance. The chamber orchestra consists of flute (piccolo and alto), clarinet and bass-clarinet, saxophone (soprano and alto) bassoon, French horn, trumpet, harp, piano, percussion, and string quintet. By providing specific orchestration and coloring, Isidora Zebeljan manages to completely shift the real dramatic suspense from words to music particularly the orchestra, thus causing various emotional states to quickly change. Speaking of structure, the opera represents an infinite sequence of melodies. Although rarely, melodic entities have, in some places, the form of arias. There are no real recitatives in the entire opera. Each segment of the opera belongs to a corresponding melodic section of the stage that they are part of. The extraordinary quality of the music in Zora D. lies in the music surprise that it provides, which is an element of the composer?s language and style rarely seen in the music literature but is a symbol of a special talent. Emotional states are not merely evoked through particular musical clich?s, the unusual origin of which may be found in the exceptional parallel quality of states stemming from the very music. The listener, in his or her initial encounter with the music of the opera, will never hear dark and disconsolate music when tragic and dramatic happenings are taking place. Listening to the music will, however, help them feel the sound layer of the tragedy that is present in the offered sound. They will not follow it consciously but, instead, they will be leaded to the exact emotional stimulus that they will not be able to defy rationally. Such a music expression we call a music fiction. Artistic team involved in the first production of Zora D. has discovered a HVS technique, which helps shifting elements of scenography, from one set into the next, very efficiently and effectively. Isidora Zebeljan?s opera Zora D. represents a great success of Serbian music on the international scene, and undoubtedly the greatest success of Serbian opera. Her music liberates listeners from the compulsion of reflecting upon the content they are listening to. Instead, her music compels them to feel.
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Oliveira, Maria Elisa de. "Considerações a respeito do existencialismo na obra de Clarice Lispector." Trans/Form/Ação 12 (January 1989): 47–56. http://dx.doi.org/10.1590/s0101-31731989000100004.
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Tendo por base a exegese que o crítico Benedito Nunes realizou a respeito da obra de Clarice Lispector, procuraremos, neste artigo, fazer algumas considerações em torno daquilo que comumente se denominou existencialismo na produção ficcional de Clarice Lispector. Ao mesmo tempo, chamaremos a atenção para aqueles aspectos da sua obra que levam a marca de sua originalidade e que fazem com que a sua produção ficcional se afaste de um certo tipo de existencialismo.
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Palmer, Peter. "Piers Hellawell et al. - ‘Timeless Shades.’ Music for bass clarinet and piano by PIERS HELLAWELL, GEORGE NICHOLSON, ELIZABETH WINTERS, GRAHAM FITKIN, THOMAS SIMAKU, STEPHEN DAVISMOON, MARC YEATS, IAIN MATHESON, ANTONY CLARE. Sarah Watts (bcl), Antony Clare (pno). Cuillin Sound CUILL1002 (2-CD set). - ‘The Dancing Flute’. Music for flute and piano by GEOFF EALES. Andy Findon (fl), Geoff Eales (pno). Nimbus Alliance NI 6216." Tempo 67, no. 266 (October 2013): 124. http://dx.doi.org/10.1017/s0040298213001216.
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Bezerra, Cicero Cunha. "Clarice Lispector: escrever para livrar-se de si." O Eixo e a Roda: Revista de Literatura Brasileira 24, no. 2 (December 18, 2015): 157–72. http://dx.doi.org/10.17851/2358-9787.24.2.157-172.
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O romance Um sopro de vida é, sem dúvida, um dos maisdesconcertantes textos da bibliografia de Clarice Lispector. Construído com base no diálogo entre dois personagens que se definem por uma interdependência que tem como marca a diferença, esse texto possibilita uma interpretação que tem como base a desconstrução do discurso como condição para a construção de uma experiência existencial-literária que é, acima de tudo, negação e silêncio diante do mundo e do próprio texto. O objetivo deste artigo é, assim, pensar em que medida o texto claricianopossibilita uma interpretação à luz do pensamento neoplatônico sem, com isso, desmerecer outras vias também comuns ao texto.
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Dos Santos, Márcio Soares. "Os filmes verbais de Erico Verissimo: uma abordagem cinematográfica e literária de Olhai os Lírios do Campo em Solo de Clarineta." Signo 44, no. 81 (September 3, 2019): 136–45. http://dx.doi.org/10.17058/signo.v44i81.13733.
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O artigo identifica no livro de memórias do autor Erico Verissimo, Solo de Clarineta I, sua formação cinematográfica. Aproxima esses elementos da memória ao conteúdo literário e adaptado para o cinema em Olhai os Lírios do Campo, o mais vendido do autor. O processo relaciona as obras, ressignifica a história e a ficção. A metodologia é através do processo comparativo entre obras. O embasamento teórico encontra-se no estudo da cultura russa de Iuri Lótman, com base em sua teoria da cadeia de signos organizados. Resgatamos o romance na sua totalidade, estruturado por meio da técnica de intercalação temporal, o que permite análise literária e cinematográfica. Buscamos os códigos da história do cinema da época de lançamento, para identificar as representações de nosso objeto e elucidar a obra do autor. Buscamos referências cinematográficas e memórias do livro Olhai os Lírios do Campo em Solo de Clarineta I, enfatizamos trechos concorrentes para o entendimento do processo de criação do romance. Nessa linha de pensamento, descobrimos nele as nuances da montagem, sua origem em outras artes e as semelhanças estruturais entre literatura e cinema.
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Nolasco, Edgar Cézar. "RESTOS DE FICÇÃO: A CRIAÇÃO BIOGRÁFICO-LITERÁRIA DE CLARICE LISPECTOR." Em Tese 8 (December 31, 2004): 75. http://dx.doi.org/10.17851/1982-0739.8.0.75-82.
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Tomando por base o que postula a crítica biográfica, o ensaio trata da relação entre vida e obra de Clarice Lispector, por entender que um traço biográfico está na gênese do processo de criação da escritora.
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Esteves, Lenita Maria Rimoli. "UMA DISCUSSÃO SOBRE A PRÁTICA DA RETRADUÇÃO COM BASE NO CASO DAS REPUBLICAÇÕES DE OBRAS DE CLARICE LISPECTOR NO EXTERIOR." Trabalhos em Linguística Aplicada 55, no. 3 (December 2016): 651–76. http://dx.doi.org/10.1590/010318138647117214021.
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RESUMO Nos últimos cinco anos aproximadamente, tem-se observado um maior movimento em torno da autora Clarice Lispector no exterior, especialmente no mundo anglófono. Clarice já era conhecida em países como Inglaterra e Estados Unidos, mas nesse período mais recente foi possível observar o lançamento de uma biografia da autora em inglês, retraduções de várias de suas obras e muita agitação na mídia em torno dessas publicações. A partir desses acontecimentos, este artigo propõe uma reflexão sobre a prática da retradução e seus determinantes, analisando quais são os motivos que levam pessoas a fazer novas traduções para que substituam as já existentes. Em particular, serão cotejados três textos: o original de A hora da estrela ([1977] 1988), sua tradução The hour of the star realizada por Giovanni Pontiero (1992) e sua retradução, feita por Benjamin Moser (2011).
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De Mendonça, Fernando. "CLARICE LISPECTOR E A POÉTICA DO VIVENDO." Interdisciplinar - Revista de Estudos em Língua e Literatura 32 (January 5, 2020): 113. http://dx.doi.org/10.47250/intrell.v32i1.12870.
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A partir de uma declaração de Clarice Lispector, nos anos 1960, sobre a literatura ser uma experiência em modo gerúndio (‘vida vivendo’), propomos uma análise de sua escritura que concentre os efeitos estéticos do texto literário como prolongamento do corpo autoral. Para isso, focamos o romance Um Sopro de Vida (1978), retomando leituras de Olga de Sá (1993; 2004) e a reconstituição biográfica de Benjamin Moser (2009), também ampliando as possibilidades de interpretação por um viés teopoético, com base no conceito de Orgé, do alemão Rudolph Otto (2007), haja vista a relação do texto clariceano com as manifestações do divino.
PALAVRAS-CHAVE: Poética literária. Teopoética. Clarice Lispector.
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Topa, Francisco. "Parábola e palavra." Navegações 14, no. 2 (December 16, 2021): e41616. http://dx.doi.org/10.15448/1983-4276.2021.2.41616.
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O artigo aborda a parábola como recurso literário, pedagógico e de pensamento, tomando por base dois contos de escritores brasileiros de origem judaica, nascidos no leste europeu: “Parábola do filho”, de Samuel Rawet, e “Os desastres de Sofia”, de Clarice Lispector.
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Waldman, Berta. "Por linhas tortas: o judaísmo em Clarice Lispector." Arquivo Maaravi: Revista Digital de Estudos Judaicos da UFMG 5, no. 8 (March 30, 2011): 26–35. http://dx.doi.org/10.17851/1982-3053.5.8.26-35.
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Meu objetivo é apresentar, neste artigo, a ficção da escritora Clarice Lispector, um dos expoentes da literatura brasileira contemporânea, como vinculada ao judaísmo, quando ela não oferece ao leitor nenhum dado direto que aponte para ele. Para além da presença judaica, verifica-se também a cristã, além de crenças populares, o que sugere o seu empenho de integração no quadro particular das experiências religiosas brasileiras, marcado pelo sincretismo. Todavia, é certo que a Bíblia lhe serviu de base, e meu propósito, aqui, é verificar como, no que concerne à lei, a recorrência a essa fonte tem um peso na obra da autora.
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França, Lueny Amanda Oliveira, Mailson De Moraes Soares, and Izabela Guimarães Guerra Leal. "Poesia experimental portuguesa e a recriação da poesia canônica." Litterata: Revista do Centro de Estudos Hélio Simões 6, no. 2 (October 2, 2017): 141–51. http://dx.doi.org/10.36113/litterata.v6i2.1076.
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Este estudo aborda a Poesia Experimental Portuguesa com o objetivo de mostrar como esse movimento literário, que teve início na segunda metade do século XX, configurou-se naquela época e até hoje possibilita criar e recriar novos experimentos. Aqui abordamos poesias experimentais produzidas com base em obras de autores canônicos. Os poemas analisados são: “Amor de Clarice” (2005), poema digital de autoria do poeta Rui Torres, alicerçado no conto “Amor” (1960), de Clarice Lispector. E o poema “Autopsicografia”, elaborado por Abílio José Santos, baseado no poema homônimo de Fernando Pessoa. Obras que demonstram a relevância e a magnitude que a PO-EX propõe, movimento que atravessou o século e ainda se diversifica e se adapta ao meio digital, em imagens e textos.
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Portela, Manuel. "AUTOAUTOR, AUTOTEXTO, AUTOLEITOR: O POEMA COMO BASE DE DADOS." Revista de Estudos Literários 2 (April 30, 2012): 203–40. http://dx.doi.org/10.14195/2183-847x_2_6.
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Este artigo constitui uma introdução à literatura eletrónica portuguesa contemporânea, centrada na obra de Rui Torres. Partindo frequentemente de textos de outros autores, as obras gerativas de Rui Torres recodificam os textos originais inscrevendo a sua sintaxe e semântica na materialidade digital e na significação programada. Algoritmos aleatorizados, procedimentos permutativos e funções interativas são aplicados a conjuntos de objetos digitais constituídos por texto verbal, vídeo, voz, música e animação. Os seus poemas hipermédia tornam evidente que os códigos de programação se tornaram recursos específicos da retórica e da poética da criação digital. Analiso a sua poesia de base de dados, observando o jogo algorítmico entre escrita e leitura em três obras hipermédia: Mar de Sophia (2005; http://telepoesis.net/mardesophia/), Amor de Clarice (2005; http://telepoesis.net/amorclarice/amor.html) e Húmus Poema Contínuo (2008, http://telepoesis.net/humus/humus.html).
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Malavolta, Marília. "Acervo Clarice Lispector, Instituto Moreira Salles: o extremo oriente entre as leituras da escritora / Clarice Lispector Collection, Moreira Salles Institute: the far east among the writer’s readings." O Eixo e a Roda: Revista de Literatura Brasileira 28, no. 4 (December 5, 2019): 195. http://dx.doi.org/10.17851/2358-9787.28.4.195-226.
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Resumo: Valendo-se de pesquisa realizada junto ao Acervo Clarice Lispector do Instituto Moreira Salles, no Rio de Janeiro, o presente artigo traz alguns títulos do extremo oriente que fizeram parte da estante de livros da escritora, com destaque crítico ao I Ching, o Livro das Mutações. Com base nesse fato e por meio de leituras do livro chinês e de escritos da autora, o artigo propõe, como resultado, significativas conexões entre hermetismos clariceanos e o I Ching, em caminhos que apontam, conclusivamente, para o reforço da dimensão estética do Livro das Mutações, aproximando a escritora, também por esta via oriental, de grandes nomes da literatura universal, como Ezra Pound, Jorge Luis Borges e Octavio Paz.Palavras-chave: acervo; Clarice Lispector; extremo oriente; I Ching.Abstract: Based on a research study carried out into the Clarice Lispector Collection of Moreira Salles Institute in Rio de Janeiro, this article presents some titles from the far east that were part of the bookshelf of the writer, with critical emphasis on the I Ching, the Book of Changes. Based on this fact, and through readings of the Chinese book and the author’s writings, the article proposes as result significant connections among the claricean hermeticism and the I Ching, in ways that conclusively point to the reinforcement of the aesthetic dimension of The Book of Changes, approaching the writer, also along this eastern route, of important authors of world literature, such as Ezra Pound, Jorge Luis Borges and Octavio Paz.Keywords: collection; Clarice Lispector; far east; I Ching.
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Brito, Denise Gonzaga dos Santos, Vânia Lúcia Torga, and André Luis Pereira. "O alusivo na representação autobiográfica de Clarice Lispector em Um sopro de vida." Domínios de Lingu@gem 13, no. 3 (October 8, 2019): 1142–79. http://dx.doi.org/10.14393/dl39-v13n3a2019-13.
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Este trabalho tem por objetivo investigar na obra literária Um sopro de vida, de Clarice Lispector, de que forma a escritora tensiona a relação entre narrativa ficcional e gênero autobiográfico, bem como o papel da alusão enquanto estratégia de leitura e de escrita no processo de representação autobiográ-fica. Para a construção deste trabalho, utilizamos a teoria da alusão, com base nos estudos realizados por Torga (2001, 2006), que a considera como estratégia mediadora dos movimentos da interdiscursividade, a qual se constitui no espaço da memória. Acreditamos que a tensão entre o gênero autobiográfico e a narrativa ficcional em Um sopro de vida, de Clarice Lispector, se dá através de estratégias linguístico-discursivas. A alusão atua no processo de representação autobiográfica fazendo um resgate do todo significativo, permitindo relacionar as partes do mosaico de sentidos que é a obra literária.
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Gomides, Paula Aparecida Diniz, and Maria do Socorro Alencar Nunes Macedo. "SENTIDOS (RE) CONSTRUÍDOS NA LEITURA DE CLARICE LISPECTOR EM UMA AULA SOBRE FORMAÇÃO DO PROFESSOR-LEITOR-MEDIADOR." EntreLetras 11, no. 3 (December 31, 2020): 273–97. http://dx.doi.org/10.20873/uft2179-3948.2020v11n3p273-297.
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Analisamos um evento de letramento em um curso de Pedagogia. Interessamo-nos pelos sentidos produzidos durante um dos momentos da disciplina sobre letramentos literários que objetivou a formação do professor leitor, com base na premissa de que o hábito da leitura favorece a mediação na construção desse letramento. Para fins de registro, utilizamo-nos de gravações em áudio e anotações em diário de campo. As interações foram analisadas a partir dos preceitos de dialogismo e construção de sentidos de Bakhtin ([1929] 2006; [1970-71] 2017) e evidenciaram uma vasta gama de interpretações polifônicas nas práticas sociais dos estudantes.
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MACHUCA, J. C. "CLARICE LISPECTOR VAI AO CINEMA: A ESTRELA É MACABÉA." Muitas Vozes 09, no. 02 (2020): 621–38. http://dx.doi.org/10.5212/muitasvozes.v.9i2.0012.
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O trabalho aqui proposto aborda as relações entre o romance A hora da estrela, publicado em 1977 por Clarice Lispector, e o filme homônimo de Suzana Amaral lançado em 1985. Os elementos que estruturam a literatura e o cinema são diferentes e estabelecer parâmetros de comparação fez-se necessário. Assim, as análises aqui expostas estão centradas, sobretudo, no confronto entre a caracterização proposta para Macabéa no livro e no longa-metragem, com base em reflexões de Avellar (2007), Stam (2008) e Xavier (2003). Amaral consegue traduzir para o cinema, seja suprimindo, seja adicionando elementos, os sentimentos e as emoções de uma heroína, aparentemente calada por ser marginal, mas que, na verdade, usa a parcimônia como arma para enfrentar o sistema.
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Conway, Paul. "John Pickard - JOHN PICKARD: Piano Concerto1; Sea-Change2; Tenebrae3. 1Fredrik Ullén (pno), 1–3Norrköping SO c. Martyn Brabbins. BIS 1873. - PICKARD: Piano Trio1; Insomnia, for violin and piano2; Chaconne for solo viola3; Valedictions, for cello and piano4; Sonata for Violin and Piano5; Snowbound, for bass clarinet, cello and piano6. 1,3–5Rupert Marshall-Luck (vln, vla), 1,4,6Sophie Harris (vlc), 6Ian Mitchell (bcl), 1,2,4-6Matthews Richard (pno). Toccata Classics TOCC 0150. - London, Purcell Room: Pickard's String Quartet No. 5." Tempo 67, no. 266 (October 2013): 109–11. http://dx.doi.org/10.1017/s0040298213001101.
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Leitão, Macell Cunha. "O desejo de exceção: reflexões marginais sobre “Mineirinho” de Clarice Lispector." ANAMORPHOSIS - Revista Internacional de Direito e Literatura 8, no. 1 (January 25, 2023): e902. http://dx.doi.org/10.21119/anamps.8.1.e902.
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O Brasil vivencia uma escalada dos discursos que clamam por medidas autoritárias com a suposta finalidade de conter a violência social. Com base no texto Mineirinho, de Clarice Lispector, discuto a questão ética que se coloca diante do estado de exceção permanente que se evidenciou, mais uma vez, na recente chacina de Jacarezinho. A tese central consiste em apontar que a exceção é, de fato, desejada, de modo a ensaiar algumas hipóteses para as causas desse paradoxo. O estudo se constitui na articulação entre o direito e a literatura e na filosofia de Giorgio Agamben.
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Hurtado, Ángel. ""Toros y bailarinas"." Cultura de Paz 22, no. 68 (July 4, 2016): 21. http://dx.doi.org/10.5377/cultura.v22i68.2721.
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Danza, disciplina, porte, bailarinas, que determinan la verdadera precisión, técnica, tecnología del plié, base de los pasos de la danza, impecable consideración de lo evanescente ingrávido, evaluación de lo estético, en la fortaleza, la precisión, la belleza, la armonía y la quietud de la paz del alma en movimiento.Toro, fortaleza, expresión de la potencia del símbolo, serena sabiduría que se trastoca cuando pende delante suyo una tela roja. Precisión en las formas, belleza corporal, atuendo señorial, esperando la fanfarria, que empiecen a sonar los clarines. Toro que está ahí cual esencia de la evidencia, estructura que se levanta con la tranquilidad del equilibrio, buscando fortalecer verdad, conciencia, armonía, potencia y enjundia de la propia naturaleza.Joan Lluís MontanéDe la Asociación Internacional de Críticos de Arte (AICA)-España, Septiembre de 2014