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Journal articles on the topic 'Expressionism (Music)'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 February 2023

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1

Carrasco, Clare. "Zemlinsky's “Expressionist” Moment: Critical Reception of the Second String Quartet, 1918–1924." Journal of the American Musicological Society 71, no. 2 (2018): 371–438. http://dx.doi.org/10.1525/jams.2018.71.2.371.

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In the years after 1918, discourse about musical expressionism was controlled by critics rather than composers. Understanding expressionism to be as much a public matter emanating from the concert hall as a private one rooted in the composer's workshop, critics at that time often identified as “expressionist” works that fall outside the conventional notion of an expressionist repertory. In a particularly striking case, those who reviewed the 1918 premiere of Zemlinsky's Second String Quartet, op. 15, described it as experimental, revolutionary, indeed expressionist music. Today, scholars consi

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Black, Leo, Shulamith Behr, David Fanning, and Douglas Jarman. "Expressionism Reassessed." Musical Times 135, no. 1812 (1994): 102. http://dx.doi.org/10.2307/1002984.

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Crawford, John C., and Dorothy L. Crawford. "Expressionism in Twentieth-Century Music." Journal of Aesthetics and Art Criticism 54, no. 1 (1996): 93. http://dx.doi.org/10.2307/431691.

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Carrasco, Clare. "The Unlike Pair." Journal of Musicology 37, no. 2 (2020): 158–96. http://dx.doi.org/10.1525/jm.2020.37.2.158.

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Between 1919 and 1923 Arnold Schoenberg’s Chamber Symphony, op. 9 (1906) and Franz Schreker’s Chamber Symphony (1916) were repeatedly programmed together on public concerts in Germany. Critics reviewing these and other postwar performances often framed the two works in a distinctive and, by today’s standards, surprising way: they aligned Schoenberg’s Chamber Symphony with an “expressionist” and Schreker’s Chamber Symphony with an “impressionist” musical aesthetic. With roots in prewar German critical and historical writing, impressionism and expressionism functioned as multifaceted, contextual

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Sansom, Matthew. "Imaging Music: Abstract Expressionism and Free Improvisation." Leonardo Music Journal 11 (December 2001): 29–34. http://dx.doi.org/10.1162/09611210152780647.

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The author defines free improvisation, a form of music-making that first emerged in the 1960s with U.K. composers and groups such as Cardew, Bailey, AMM and the Spontaneous Music Ensemble. The approach here considers free improvisation as creative activity, encompassing its artistic agenda on the one hand and the process-based dynamic of its production on the other. After considering the historical location of free improvisation within Western music history, the article explores free improvisation as analogous with Abstract Expressionist art. This comparison enables a fuller understanding of t

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Harrison, D. "Max Reger Introduces Atonal Expressionism." Musical Quarterly 87, no. 4 (2004): 660–80. http://dx.doi.org/10.1093/musqtl/gdh027.

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Craig, Dale A. "Trans–Cultural Composition in the 20th Century." Tempo, no. 156 (March 1986): 16–18. http://dx.doi.org/10.1017/s0040298200022075.

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The most remarkable development in 20th-century music has been the gradual rise of transcultural music to status as the dominant activity of composers. Interaction between musics of various types within the same culture, and between cultures (including those separated from us in historical time), has been more important than the conventionally-recognized classifications of 20th-century musical activity such as expressionism, atonality, impressionism, neo-classicism (in its purist, Eurocentric stance), serialism, total serialism, chance, and minimalism (when it poses as an intellectual movement

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RUCSANDA, Mădălina, and Alexandra BELIBOU. "Numerological symbols in Schoenberg's creation." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 14 (63), no. 1 (2021): 75–84. http://dx.doi.org/10.31926/but.pa.2021.14.63.1.9.

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Expressionism in music was the movement that brought the contrast to previous eras promoting a tense music, exacerbation of means of expression and destruction of tonal balance. The works that belong to this innovative artistic movement involve diverse interpretations, because they capture the general tense atmosphere, from an aestheticphilosophical perspective, highlighting some text-sonority correspondences and the expressiveness of the elements of musical language. Over time, various connections have been made between music and mathematics, proving that mathematics can give a solid, deep fo

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Wellington, Jack, and Alexander Wellington. "Triskaidekaphobia and Schoenberg: musical expressionism or psychiatric consequence? – psychiatry in music." British Journal of Psychiatry 218, no. 3 (2021): 167. http://dx.doi.org/10.1192/bjp.2020.221.

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Clark, T. J. "In Defense of Abstract Expressionism." October 69 (1994): 22. http://dx.doi.org/10.2307/778988.

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Anderson, Martin. "London, St. John's Smith Square: Britten and David Matthews premières." Tempo 57, no. 226 (2003): 69. http://dx.doi.org/10.1017/s0040298203240365.

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The world première of Benjamin Britten's Two Pieces (his title) for violin, viola and piano on 9 July provided further proof of his precocious genius, and also hinted intriguingly at the turning his compositional career never took. The concert that presented the Britten trio and another première, David Matthews's Duet Variations for violin and piano, was organized by Haus Publishing to launch Matthews's new biography of Britten, and it was while researching the book that Matthews came across the score of the Two Pieces, written in late 1929 for a chamber group in which he played the viola. Lik

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MATTES, ARNULF CHRISTIAN. "Radiant Moments of Remembrance: on Sound Sheets in Schoenberg's Late Chamber Works." Twentieth-Century Music 6, no. 1 (2009): 43–62. http://dx.doi.org/10.1017/s1478572210000058.

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AbstractThe return of expressionistic textures in Arnold Schoenberg's late chamber works creates a play of allusion that raises important questions about his creative process in the ‘American’ period. Passages in the Phantasy and the String Trio resemble the characteristic sound of the so-called Klangflächen (‘sound sheets’) that were located at key expressive moments in his music from the first two decades of the century. Their return in these two late instrumental works evokes associations with the mystical and spiritual, and gives rise to intertextual resonances that extend beyond the confi

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Milin, Melita. "The stages of modernism in Serbian music." Muzikologija, no. 6 (2006): 93–116. http://dx.doi.org/10.2298/muz0606093m.

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In order to consider this topic, it was first necessary to discuss certain problems of terminology and periodisation relating to musical modernism in general. It is already familiar the extent to which the terms "new music", "modernist", "contemporary" and "avant-garde" music have been used interchangeably, as synonyms. For this reason, it was first important to outline the period of musical modernism as almost generally accepted, which is regarded as an epoch comprising three different periods: (I) period of early modernism (1890?1918), announced by a break with later romanticism and a turn t

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Radaeva, E. A. "Traditions of German Expressionism in the Cinematography of the Second Half of the 20th – Early 21st Centuries." Concept: philosophy, religion, culture 6, no. 3 (2022): 156–70. http://dx.doi.org/10.24833/2541-8831-2022-3-23-156-170.

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The subject of this study is the influence of the traditions of German expressionism on modern cinema, primarily the horror genre. The relevance of this work is due to the need to study the genesis of modern trends in one of the most popular types of art and its popular genres in the context of cultural history in terms of allusions and reminiscences, traditions and innovation. In order to prove that the traditions of expressionism are clearly traced to this day and promise to be quite productive in the long run, as well as to trace the nature of their presence in the history of the film indus

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Varetska, Sofiya. "Picturesque of Literature and Literature of Fine Arts in Works of Twice Exceptional Expressionists." Pitannâ lìteraturoznavstva, no. 102 (December 28, 2020): 134–47. http://dx.doi.org/10.31861/pytlit2020.102.134.

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The article considers a problem of the arts interaction, which is a characteristic feature of German expressionism. It analyzes works of gifted expressionists, which are fulfilling themselves not only as writers, but as painters too and vice versa. All attention is paid to such figures of expressionism as Oscar Kokoschka, Franz Kafka, Alfred Kubin. The article argues that the power of talent of such artists is so great that self-realization in one of the arts is not enough for them, and therefore they actively use the opportunity to reveal the facets of their giftedness not only verbally, but

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MĂNĂILESCU, Sorana. "Versions of Post Avant-Garde Music." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 13(62), no. 1 (2020): 117–26. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.13.

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The present paper is written in response to Christopher Norris’s allegation in a famous essay, ""Post-modernism - a guide for the perplexed,"" (Norris 2000) that, unlike literary postmodernism, characterized by an appeal to intelligence and intellectual effort from the reading public, musical postmodernism is impoverished in point of language and idea. This communication attempts to shed light on the complexity of musical compositions in the generic sphere of electroacoustic, timbral or computer-generated music, whose creators are at the same time theorists of their own language which requires

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TOTAN, Virginia. "Musical styles approached by Serbian composers in the first half of the 20th century." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (2022): 183–92. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.18.

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The musical creation of Serbian composers is not well known in the European area, primarily due to censorship in the first half of the 20th century when music influenced by European orientations was considered capitalist and was banned on the one hand, and on the other hand due to the fact that most of the works are written in Cyrillic and thus did not reach the European research circuit. It should be mentioned that the course of development of music history in Europe, with its periodization into stages of Baroque, Classicism, Romanticism, Impressionism, Expressionism, Neoclassicism, Avant-gar

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Векслер, Юлия. "Between Expressionism and Dadaism. Erwin Schulhoff in Dialogue with the Second Viennese School." Музыкальная академия, no. 3(779) (September 26, 2022): 98–115. http://dx.doi.org/10.34690/255.

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Судьба чешского композитора и пианиста Эрвина Шульхофа (1894-1942) показательна для второго поколения представителей новой музыки - тех, кто начал свой творческий путь после окончания Первой мировой войны, в период Веймарской республики. На протяжении многих лет Шульхоф вынашивал свою идею музыкальной революции, начало которой положили концерты «музыки будущего» в Дрездене. Затем последовали контакты с берлинскими дадаистами и венскими экспрессионистами, увлечение джазом; потом возникли и симпатии коммунистическим идеям. Особое значение для Шульхофа, который искал единомышленников среди радика

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Prokhorenkova, Svetlana. "Color Symbolism in Literary and Philosophical Works by Existentialists." Bulletin of Baikal State University 29, no. 2 (2019): 193–97. http://dx.doi.org/10.17150/2500-2759.2019.29(2).193-197.

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Studies of color symbolism of existentialism and expressionism are of relevant importance in several branches of knowledge: in philosophy, literature, dramaturgy, ethics and aesthetics. The phenomenon of color perception is also essential in the figurative and music arts. Thus, the main focus of this article, dedicated to the literary and philosophical works by Albert Camus, Jean-Paul Sartre and Franz Kafka, is on interpretation of light and color perception.

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Davies, Veronica. "Review: David Miller and Stephen Watts (eds), Music While Drowning. German Expressionist Poems ; Victor H. Miesel (ed), Voices of German Expressionism." Art Book 11, no. 1 (2003): 48. http://dx.doi.org/10.1111/j.1467-8357.2004.00386.x.

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Lotery, Kevin. "Folds in the Fabric: Robert Morris in the 1980s." October 171 (March 2020): 77–114. http://dx.doi.org/10.1162/octo_a_00379.

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At the beginning of the 1980s, Robert Morris took a decisive and shocking turn. Abandoning the strategies of agency reduction, abstraction, and indeterminacy that had guided his practice since the 1960s, he began to make paintings instead. Architectural in scale and gaudy in their depictions of eviscerated human remains and post-apocalyptic landscapes, the new paintings trafficked in those myths of painting that Neo-Expressionism was just then resurrecting as bankable signs for a consumerist decade: expressivity, figuration, and narrative, among them. What, then, could unite the theorist of an

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Head, Raymond. "Holst – Astrology and Modernism in ‘The Planets’." Tempo, no. 187 (December 1993): 15–24. http://dx.doi.org/10.1017/s0040298200003247.

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The subject of modernism in early 20th-century British music is rarely examined: partly because it is often thought that British composers were not interested in the Modern Movement before World War I, and partly because in discussing Modernism (a convenient umbrella term for the whole cultural avant-garde whose components included Expressionism, Futurism, Primitivism and Surrealism) one must be prepared to engage subjects which, in this country, are normally considered Verboten. There is no doubt, for instance, that the development of the Modern Movement on the Continent was partly inspired b

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Ahmad, Izmer, and Elham Shafaei Darestani. "The Calligraphic Subject: The Body and Social Power in Malaysian ‘Abstract Expressionism’." Wacana Seni Journal of Arts Discourse 16 (2017): 35–68. http://dx.doi.org/10.21315/ws2017.16.2.

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COHEN, BRIGID. "Diasporic Dialogues in Mid-Century New York: Stefan Wolpe, George Russell, Hannah Arendt, and the Historiography of Displacement." Journal of the Society for American Music 6, no. 2 (2012): 143–73. http://dx.doi.org/10.1017/s1752196312000028.

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AbstractThis article explores mid-century New York intellectual scenes mediated by the avant-garde émigré composer Stefan Wolpe (1902–72), with special emphasis on Wolpe's interactions with jazz composer George Russell (1923–2009) and political philosopher Hannah Arendt (1906–75). Cross-disciplinary communities set the stage for these encounters: Wolpe and Russell met in the post-bop circles that clustered in Gil Evans's basement apartment, while Wolpe encountered Arendt at the Eighth Street Artists’ Club, the hotbed of Abstract Expressionism. Wolpe's exchanges with Arendt and Russell, long un

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Mosusova, Nadezda. "Symbolism and theatre of masques: The deathly carnival of la belle époque." Muzikologija, no. 5 (2005): 85–99. http://dx.doi.org/10.2298/muz0505085m.

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The junction of the nineteenth and twentieth centuries in Europe sharpened the clash of artistic novelties in the Western and Slavonic worlds, caused by developed Symbolism and Expressionism. As an output of the former reappeared in the "Jahrhundertwende" the transformed characters of the Commedia dell'arte, flourished in art, literature and music in Italy France, Austria and Russia. Exponents of Italian Renaissance theatre Stravinsky's Petrushka (1911) and Sch?nberg's Pierrot lunaire (1912) turned soon to be main works of the Russian and Austrian expressionistic music style, inaugurated by St

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An, Jimin, and Kyung Hoon Han. "Study on the formation of Cult culture between Bop Music and Abstract Expressionism Art Focused on Synesthesia Theory." Korean Society of Culture and Convergence 42, no. 11 (2020): 119–41. http://dx.doi.org/10.33645/cnc.2020.11.42.11.119.

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Radovic, Branka. "Al niente: The last opus of Vasilije Mokranjac: After a quarter of a century." Muzikologija, no. 9 (2009): 85–96. http://dx.doi.org/10.2298/muz0909085r.

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This year we mark the 25th anniversary of the death of one of the most distinguished Serbian composers, Vasilije Mokranjac, whose diversified opus of predominantly symphonic and piano music, greatly influenced on composers of his and subsequent generations. The last opus by this author is his Preludium for clarinet solo written a few months before the tragic death of the artist, who, in this as well as in his entire opus, expressed his anxiety over life and death, his wonder at the sense and absurdity of the things man does, the things he longs for and what he is preoccupied with. Written in a

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Vasic, Aleksandar. "Contemporary musical historiography and the problems of the methodological approach." Muzikologija, no. 5 (2005): 347–89. http://dx.doi.org/10.2298/muz0505347v.

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The first foreign review of the general history of music translated to Serbian language was Karl Nef's Einf?hrung in die Musikgeschichte. It was published in Belgrade, in 1937. During the '70s and '80s of the 20th century, there were translated popularly conceived histories of music of Luciano Alberti and Nobert Difourc. In 2002/2004 the Belgrade publisher "Clio" issued the second and third volume of Gerald Abraham's Concise Oxford History of Music. It was estimated that the long pause, as well as the choice of the prominent British author, present strong reasons for detailed critical study ap

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Vikárius, László. "Transfigurations of The Miraculous Mandarin: The Significance of Genre in the Genesis of Bartók’s Pantomime." Studia Musicologica 60, no. 1-4 (2020): 23–68. http://dx.doi.org/10.1556/6.2019.00003.

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Based on a fresh study of all primary sources of Bartók’s The Miraculous Mandarin (composition: 1918/19, orchestration: 1924) the article reconsiders the entire history of composition and repeated revisions of the work. The original choice of genre (expressive “pantomime” in contrast to “ballet”) seems to have played a significant role in this troubled history, which shows the composer’s efforts to transform sections of the original “gesture” music into a more symphonic style often making the music more succinct. Puzzlingly, the first full score of the complete work and a revised edition of th

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DUȚICĂ, Luminița, and Ema-Laura STANCIU. "Sound polychromes in the choral creation of the composer Gheorghe Duțică." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (2021): 57–68. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.6.

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Choral cultures begin with the old art of Notre Dame in Paris, continue with the Renaissance, Baroque, Classicism, Romanticism and end with the modern era, where the currents of Impressionism, Expressionism and Neoclassicism are often interwoven, united through the National Schools. An old tradition of Romanian musical culture continues, whose beginnings were marked by the choral, church or secular genre and whose modern foundations were finalized in the inter-war era of the 20th century. Gheorghe Duțică is one of the most representative masters of Romanian music. He has acquired a thorough kn

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Zavarský, Ján. "Alred Roller – An Innovator and a Traditionalist." Slovenske divadlo /The Slovak Theatre 65, no. 4 (2017): 383–401. http://dx.doi.org/10.1515/sd-2017-0023.

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Abstract This study focuses on the scenographer Alfred Roller (1864–1935) and his productions of Wagner’s musical dramas, with emphasis on Tristan and Isolde and Parsifal. It places Roller’s aesthetics in a historical, aesthetic, and artistic context, points to his inspiration by the Swiss scenography reformer Adolphe Appia, and cooperation with the music composer and conductor Gustav Mahler in the Vienna Court Opera. The text analyses the specifics of Roller’s scenography, which diverged from illusive stage and used light work as an important production principle. It concludes with a summary

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Gable, David. "Boulez's Two Cultures: The Post-War European Synthesis and Tradition." Journal of the American Musicological Society 43, no. 3 (1990): 426–56. http://dx.doi.org/10.2307/831742.

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Pierre Boulez is typical of a post-war generation of European composers known for its apparent repudiation of tradition, although the synthesis of such composers as Boulez, Berio, and Stockhausen can be shown to be firmly rooted in tradition. Tendencies within both Franco-Russian and Austro-German traditions merged in the formation of Boulez's style. This is reflected both in Boulez's first models, Messiaen and Webern, and by his life-long engagement with both Schoenberg's expressionism and the works of Stravinsky's Russian period. Wagner, Mahler, and Schoenberg had developed a continuous dyna

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BULANCEA, Gabriel. "THE APOTHEOSIS OF THE SPIRIT - CLIMAXES OF THE MAHLERIAN SYMPHONIC DRAMATURGY." Pro Edu. International Journal of Educational Sciences 4, no. 7 (2022): 76–82. http://dx.doi.org/10.26520/peijes.2022.7.4.76-82.

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Whether we are talking about opera music or symphonic music, each of these genres develops specific dramaturgies and climaxes, closely dependent on the stage action in the first case, or programmatic intentions in the second case. Between these there can, of course, be influences, similarities, contrasts, etc. The present study proposes an analysis of the existing climaxes in the symphonic music of the Viennese composer Gustav Mahler (1860-1911), to distinguish a certain taxonomy or typology of them, but also to give a broader perspective on them. Mahler stands out due to the mastery with whic

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Hooper, Giles. "Scott Burnham, Sounding Values: Selected Essays (Farnham and Burlington: Ashgate, 2010). xviii + 328 pp. £105.00. ISBN 978-0-7546-2886-6 (hb).NicoleGrimes, SiobhánDonovan and WolfgangMarx (eds), Rethinking Hanslick: Music, Formalism and Expressionism (Roc." Music Analysis 33, no. 3 (2014): 406–16. http://dx.doi.org/10.1111/musa.12034.

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GAGLIARDO, VINICIUS CRANEK. "Aspectos vanguardistas na música de John Cage * Vanguard aspects in John Cage’s music." História e Cultura 2, no. 1 (2013): 120. http://dx.doi.org/10.18223/hiscult.v2i1.942.

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<p><strong>Resumo:</strong> Este artigo tem por objetivo estabelecer algumas relações entre as vanguardas artísticas europeias, como o surrealismo e o dadaísmo, e as peças musicais de John Cage. De modo mais específico, procurarei apresentar algumas das características destes movimentos de vanguarda que ainda persistiram na obra do compositor norte-americano. Para isso, a partir do livro Teoria da Vanguarda, de Peter Bürger, e do estudo de Jorge de Almeida, Crítica dialética em Theodor Adorno, retomarei os ideais do Expressionismo – momento auge do esteticismo –, refletindo s

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Цареградская, Т. В. "“Late Modernism” in the Music of the Late 20th and Early 21st Century: Some Observations." Научный вестник Московской консерватории, no. 3(38) (September 25, 2019): 8–27. http://dx.doi.org/10.26176/mosconsv.2019.38.3.001.

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Основная задача статьи— анализ различных подходов к периодизации направлений в музыкальном искусстве конца XX— начала XXI века. Эволюция искусства может быть представлена как линейный процесс, зафиксированный в последовательности «модернизм— постмодернизм— метамодернизм», или как параллельный (полифонический) вариант «модернизм— постмодернизм— второй (или поздний) модернизм» (К.-С. Манкопф). Ключевым моментом становится интерпретация того, что происходит «после постмодернизма»: новый этап со своими признаками (Вермюлен, ван дер Аккен) или возвращение к модернизму (Дженкс, Перлофф). Позиции, ра

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Mikolon, Anna. "Composition trends in polish vocal lyric. Musical language features in polish songs after the mid-20th century based on selected examples." Notes Muzyczny 2, no. 12 (2019): 175–98. http://dx.doi.org/10.5604/01.3001.0013.7176.

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The subject for analysis were works for voice and piano by selected Polish composers of the 20th and 21st centuries, e.g. Grażyna Bacewicz, Tadeusz Baird, Henryk Czyż, Henryk Mikołaj Górecki, Henryk Hubertus Jabłoński, Wojciech Kilar, Zygmunt Krauze, Szymon Laks, Witold Lutosławski, Juliusz Mieczysław Łuciuk, Wojciech Łukaszewski, Paweł Łukaszewski, Maciej Małecki, Paweł Mykietyn, Edward Pałłasz, Konrad Pałubicki, Krzysztof Penderecki, Witold Rudziński, Marian Sawa, Kazimierz Serocki, Tadeusz Szeligowski and Romuald Twardowski. An important matter for the author was to determine whether there

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Rapoport, Sonya. "Digitizing the Golem: From Earth to Outer Space." Leonardo 39, no. 2 (2006): 117–24. http://dx.doi.org/10.1162/leon.2006.39.2.117.

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Sonya Rapoport, a multimedia artist, traces five decades of her career, coalescing art, science and technology. She provides a personal history in a scientific context that leads her from painting and abstract expressionism to computer-assisted interactive installations and webworks. The artist uses the metaphor of the golem, her self-described avatar, as a means to question and explain the autobiographical evolution of her iconography, choice of media and style. Her journey includes the influences on her interdisciplinary art expression in which anthropology, chemistry, botany, religion and t

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Churikov, V. V. "Concerto for saxophone and string orchestra by P.-M. Dubois: guidelines for performance." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 107–22. http://dx.doi.org/10.34064/khnum1-54.07.

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Statement of the problem. Creativity for saxophone by the French composer Pierre-Max Dubois (1930-1995) reflects in its sound palette many style tendencies of music art of the twentieth century. A student of D. Milhaud, he inherited from his teacher the desire for vivid character and imagery of music, which were achieved by various artistic possibilities of modern musical styles and trends. For the saxophone, he wrote such compositions as Characteristic pieces in the form of a suite, Quartet, Divertissement, Sonata and Concerto for saxophone and string orchestra which is quite relevant for the

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O'Loughlin, Niall. "Slovenian Music in its Central European Context: the 20th-century experience." Musicological Annual 40, no. 1-2 (2021): 267–76. http://dx.doi.org/10.4312/mz.40.1-2.267-276.

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Slovenia has had a rich and varied musical histoiy, despite the fact that it was part of the Habsburg Empire and then a constituent part of Yugoslavia. Its recent smooth transition to independence and its realignment with Central Europe have been noteworthy. In the past, Slovene or part-Slovene composers such as Gallus, Tartini and Wolf worked abroad, while in the 20th century composers normally returned to Slovenia after studying abroad. For example, Marij Kogoj and Slavko Osterc studied in Central Europe and maintained a strong musical connection with Central European modernism in the 1920s

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Высоцкая, М. С. "The Logic of Sensations: the Nature of the “Picturesque” in the Music of Morton Feldman." Научный вестник Московской консерватории, no. 1(36) (March 27, 2019): 14–31. http://dx.doi.org/10.26176/mosconsv.2019.36.1.002.

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Статья освещает некоторые аспекты проблемы, связанной с реализацией комплекса «живописного» в музыкальной композиции Мортона Фелдмана. Сквозь призму «логики ощущений» — центрального концепта трактата Ж. Делёза «Фрэнсис Бэкон: Логика ощущения» — рассмотрен ряд общих для музыки композитора и живописи представителей абстрактного экспрессионизма моментов: параллели в восприятии акта творчества и в подходе к созданию композиции, отношение к пространственно-временно́му фактору, родство элементов композиционной техники. Акцентированы существенные для композиционной риторики Фелдмана идеи: «вещественн

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Masnikosa, Marija. "Voices of earthmen (1995) by Vladan Radovanovic: A review." Muzikologija, no. 7 (2007): 295–302. http://dx.doi.org/10.2298/muz0707295m.

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This paper discusses the compositional technique and the poetic level of the composition Glasovi Zemljana (Voices of Earthmen) composed by Vladan Radovanovic in 1995. The work is based on the composer?s own musical principle, which he called hyperpoliphony, established in his early work Polyphony No. 9, and applied in his entire musical opus to date. The composition contains three movements, although the disposition of each section implies integration at a higher level of its structure, enabling us to interpret this work as an organic, textually unified three-part whole. Even though so-called

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Rozin, Vadim Markovich. "Semiotics as a philosophical and methodological, natural science and mathematical discipline (main stages of development and perspective)." Философия и культура, no. 6 (June 2022): 66–81. http://dx.doi.org/10.7256/2454-0757.2022.6.38261.

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The article examines the history of the development of the ideas of semiotics, from the works of St. Augustine to the present. The author shares the semiotic approach, which, judging by the literature, was formulated by Augustine, and semiotics as a scientific discipline, and in two versions, as an analogue of mathematics and natural science (we are talking about the "second nature", which is studied in the humanities and social sciences). The characteristic of the semiotic approach presented by Augustine in the scheme is given, which, the author shows, can be extended to various humanitarian

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Flecha Vega, Raquel. "Olga Albizu’s Lyrical Abstraction and the Borders of the Canvas." Arts 12, no. 1 (2023): 20. http://dx.doi.org/10.3390/arts12010020.

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The abstractionist paintings of Puerto Rican artist Olga Albizu (1924–2005) gained prominence in the late 1950s when her work debuted in galleries across the Americas and entered the commercial music industry with RCA and Verve records. However, existing scholarship has failed to capture the complex relationship between Albizu’s anti-commercial abstractionist aesthetic and its mass reproduction as cover art for vinyl records during the Cold War era. Returning to the canvas to explore the iconographic, formal, and aesthetic qualities of Albizu’s work within its sociohistorical post-World War II

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Manggala, Bondan Aji. "“DURMA” (Model Penciptaan Pesan dan Kesan Musik Melalui Pembenturan Teks Lirik dengan Ekpresi Musik)." Acintya Jurnal Penelitian Seni Budaya 12, no. 1 (2020): 23–32. http://dx.doi.org/10.33153/acy.v12i1.3139.

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ABSTRACT This article is part of a report on the results of artistic research (works of music) in the field of music. Briefly expresses experience and some knowledge findings related to the process of creating musical works of art. "Durma" is an editorial for this artwork, which contains three works of music with a popular music creation approach. Inspired by the anxiety of observing the infertility of creativity in the area of popular music in Indonesia, through "Durma" the thought was made to model the creativity of popular music by paying attention to the clash of lyric texts with musical e

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Reed, B. M. "Expressionism and Modernism in the American Theatre: Bodies, Voices, Words; Ugly Feelings; A Poetics of Impasse in Modern and Contemporary American Poetry; Integral Music: Languages of African American Innovation." American Literature 79, no. 1 (2007): 216–19. http://dx.doi.org/10.1215/00029831-2006-091.

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Shchetynsky, Oleksandr. "Borrowed and Original Techniques in the Trio by Leonid Hrabovsky." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 132 (November 29, 2021): 106–20. http://dx.doi.org/10.31318/2522-4190.2021.132.249978.

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Relevance of the study. During several years that preceded the creation of the Trio (1964), Leonid Hrabovsky wrote many other works in various genres and forms, ranging from suites and a sonata for solo instruments, a song cycle, and a cappella choruses, to large-scale compositions for orchestra and for mixed choir with orchestra, and even two one-act operas (piano scores). The composer’s stylistic priorities had been rapidly and strikingly evolving from “social realism with a human face” as evident in the Four Ukrainian Songs, towards a much more radical “sharp” expressionism and constructivi

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Ibrahim, Md Nasir, Hazlin Anita Zainal Abidin, Mohd Zahuri Khairani, Eng Tek Ong, and Che Aleha Ladin. "Pameran Ini Saya Punya Kerja: Manifestasi Dua Seni." Wacana Seni Journal of Arts Discourse 19 (December 31, 2020): 79–85. http://dx.doi.org/10.21315/ws2020.19.7.

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“Ini Saya Punya Kerja: Manifestasi Dua Seni” is a collaborative exhibition organised by Universiti Pendidikan Sultan Idris, University of Malaya, and Yayasan Usman Awang. The exhibition combines academics, painters, and poets to manifest the merger of two arts, the visual arts and the literary arts. The exhibition was officiated by Tan Sri Johan Jaaffar at the University of Malaya Art Gallery on Sunday, 13 February 2020, at 10.00 am. A total of 37 painters with 74 artworks consisting of paintings, installations, sculptures, and photographs were exhibited. All works were translations of the poe

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Mehring, Frank. "Welcome to the machine! The representation of technology in Zeitopern." Cambridge Opera Journal 11, no. 2 (1999): 159–77. http://dx.doi.org/10.1017/s0954586700004997.

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Condemned as degenerate art during the Third Reich, German Zeitopern and their artistic treatment of technological infiltration during die Weimar Republic have sparked a variety of new research projects, world-wide musical performances and CD releases from Decca/London in a continuing series entitled ‘Entartete Kunst.’ Manifestos were written in response to the penetration of technology into nearly every aspect of human life, envisaging a future where human beings would interact organically with their new urban environments. Expressionism, Americanism and the concept of Neue Sachlichkeit (New

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Julich-Warpakowski, Nina. "Motion Expressions in Music Criticism." arbeitstitel | Forum für Leipziger Promovierende 8, no. 1 (2020): 34. http://dx.doi.org/10.36258/arbeitstitel.v8i1.3310.

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Music is commonly and conventionally described in terms of motion: melodies fall and rise, and motifs may follow a harmonic path. The thesis explores the motivation of musical motion expressions in terms of conceptual metaphors (Lakoff & Johnson 1999). Specifically, it analyses whether musical motion expressions are based on the time is motion metaphor (Johnson & Larson 2003, Cox 2016). Furthermore, the thesis investigates whether musical motion expressions are perceived as low in metaphoricity because of their conventionality in music criticism, and because of a more general associati

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