Academic literature on the topic '- Fantasy variations'

The effects of erotic content and subject sex on sexual fantasy were mediated by general sexual attitudes. When erotic content consisted of mild erotica showing males rather than females, male subjects ( N=123) expressed significantly more negative themes in briefer fantasy productions than females ( N=123). Analyses of affective and arousal responses to single-sex and heterosexual erotica indicated patterns generally consistent with the fantasy outcomes. Negative sexual attitudes were associated with negatively-toned fantasies, more negative affect, and less sexual arousal. Variations in affective and arousal responses to erotic stimuli, as discussed by the theory of the Sexual Behavior Sequence, were demonstrated to extend to the production of sexual fantasy.

The following study starts out from the examination of two fragmentary piano compositions by Liszt: Introduction des variations sur une marche du Siège de Corinthe and Maometto Fantasy , which were based on two Rossini operas, Le Siège de Corinthe and Maometto II , respectively. Since the literature has tended to confound the sources related to these two works, I strive to clarify and reinterpret the intricate connections between the two fragments and their different manuscript sources. I propose that the “Maometto — Mosè Fantasy,” the Valse à capriccio sur deux motifs de Lucia et Parisina , the Variations de bravoure pour piano sur des thèmes de Paganini , the Fantasie über Motive aus Figaro und Don Juan and the God Save the Queen. Paraphrase de concert all reflect the composer’s intense concern with the integration of themes of different origins in a single work — an aesthetic problem that haunted him for decades, and remained unresolved in most of the above cases. Liszt appears to have been able to solve this problem satisfactorily only if he could rely on some kind of “outside” musical help, like the common genre of the waltz in the Valse à capriccio ; or if he succeeded in “sublimating” one of the themes, as in the case of God Save the Queen . For want of such extraordinary solutions, all other compositions that experimented with the integration of themes of different origins in the late 1830s and early 1840s were eventually buried in oblivion by Liszt himself.

One of the many wonders that fullerenes have brought to us during the past few years is the variety of their shapes. When the elusive C60 finally showed up in 1990, the perfect symmetry and astounding beauty of its molecular structure touched the hearts of scientists before they could consider the molecule's vast technical possibilities. Already much has been said about the unique shape of C60 and its potentialities. C70 and higher fullerenes have simultaneously been found in the same soot that produced C60 and were quickly revealed to be shaped like rugby balls or oblong eggs. Hence we were aware that there had to be an extensive series of roundish polyhedral clusters of carbon atoms.Then, in the following year, multilayered tubular fullerenes (Figures 1a and 1b) were discovered by Iijima and were named buckytubes (see the article by Iijima in this issue). Iijima also observed similarly huge and multilayered carbon balls, before C60 was discovered. Soon after, buckyonions were recognized as an important class of fullerene (Figure 1c, see article by Ugarte in this issue). So, in the early days of fullerene research, we already knew three forms of fullerene: sphere, tube, and particle. At that time, however, nobody anticipated that this was only the beginning of a big show of stunning variations in the shapes of fullerenes. This article introduces current developments in the study of these fullerene styles.

KENNETH LEIGHTON: Sonatinas Nos. 1 and 2, op.1; Sonata No.1 op.2; Sonata No.2 op.17; Five Studies op.22; Fantasia Contrappuntistica (Homage to Bach) op.24; Variations op.30; Nine Variations op.36; Pieces for Angela op.47; Conflicts (Fantasy on Two Themes) op.51; Six Studies (Study-Variations) op.56; Sonata (1972) op.64; Household Pets op.86; Four Romantic Pieces op.95; Jack-in-the-Box; Study; Lazy-bones. Angela Brownridge (pno). Delphian DCD 34301-3 (3-CD set).PATRICK PIGGOTT: Fantasia quasi una Sonata; 8 Preludes and a Postlude (Third Set). Second Piano Sonata. Malcolm Binns (pno). British Music Society BMS 430CD.SORABJI: Fantasia ispanica. Jonathan Powell (pno). Altarus AIR-CD-9084.ROWLEY: Concerto for piano, strings and percussion, op.49. DARNTON: Concertino for piano and string orchestra. GERHARD: Concerto for piano and strings. FERGUSON: Concerto for piano and string orchestra, op.12. Peter Donohoe (pno and c.), Northern Sinfonia. Naxos 8.557290.Severnside Composers’ Alliance Inaugural Piano Recital. GEOFFREY SELF: Sonatina 1. IVOR GURNEY:Preludes, Sets 1, 2 and 3. JOLYON LAYCOCK: L’Abri Pataud. RICHARD BERNARD: On Erin Shore. STEVEN KINGS: Fingers Pointing to the Moon. SUSAN COPPARD: Round and Around. JOHN PITTS: Aire 1; Fantasies 1, 5. JAMES PATTEN: Nocturnes 3, 4. SULYEN CARADON: Dorian Dirge. RAYMOND WARREN: Monody; Chaconne. Peter Jacobs (pno). Live recording, 23 February 2005. Dunelm DRD0238.Severnside Composers’ Alliance – A Recital by two pianists. MARTINŮ: Three Czech Dances. BEDFORD: Hoquetus David. JOHN PITTS: Changes. HOLLOWAY: Gilded Goldbergs Suite. JOLYON LAYCOCK: Die! A1 Sparrow. POULENC: Élégie. LUTOSLAWSKI: Paganini Variations. Steven Kings, Christopher Northam (pnos). Live recording, 14 May 2005. Dunelm DRD0243.‘Transcendent Journey’. FOULDS: Gandharva-Music, op.49; April-England, op.48 no.1. CORIGLIANO: Fantasia on an Ostinato. PROKOFIEV: Toccata, op.11. With works by BACH-CHUQUISENGO, HANDEL, BEETHOVENLISZT, BACH-BUSONI, SCHUMANN. Juan José Chuquisengo (pno). Sony SK 93829.

AdornoÕs view of Schubert's Wanderer Fantasy is of flawed music. He regards the finale as yet another compositionally disastrous failure by Schubert to know how to round off a sonata or symphony. But he is clearly intrigued by the slow movement's acts of negation and alienation. This article investigates these two crises. First, what is actually--if one may dare ask such a thing--wrong with the finale? That it is all empty mock-fugue and sequence and passage-work? And thus it lacks truth-content? That Schubert is not really composing this finale; it is somehow composing him? Here I investigate analytically what Adorno's "temporal series of atemporal cells" means. Second, how does the slow movement move us from lightness into despair? Death for Schubert, Adorno tells us, is not about pain, but mourning, something Schubert takes us right inside--or to use Adorno's image, through a portal to the underworld (29). I believe that this landscape is also nested within the slow movement of the Wanderer Fantasy. If, as always with variations, the task of the analyst is not so clear here, the task of the (rightly) evidence-bound hermeneut probably is.

Franz Schubert’s D760 is entitled “fantasy”, although the four sections of the work recognisably reference the formal models of a four-movement sonata. Since those models appear in their traditional order, the “fantasy” elements have to manifest themselves differently, transgressing the norms of sonata in two ways: Schubert transforms and deconstructs the individual forms of the four-movement model, while suspending the autonomy of each movement. Both strategies are interrelated: by blurring the form of each movement, Schubert opens them up to the following sections. This is rendered plausible because the movements, which connect seamlessly, are derived from the same thematic material.The deconstruction of the formal models manifests itself in the elision of formal units, the interpolation of non-formal sections, and the startling curtailing of developmental procedures within the formal units. These formal licences generate ambiguous structures that do not lend themselves to definite formal interpretations. Thus formal ambiguity is a constituting element of the “fantastic” in D760.The thematic unity of the work is a result of the continuous transformation of a motif first presented in the main theme of the first movement; a process, in which new variants emerge from the synthesis of previous variations. Furthermore, the Presto, which stands in for the scherzo movement of the Fantasy, reverse engineers the sonata form of the first movement (which had been abandoned before the recapitulation) while completing and normalising the form of the first movement by aligning it with the scherzo form. Thus the Presto assumes the formal function of the missing recapitulation, whose “wrong” key of A flat major is “rectified” through the C-major finale.

For a number of Italian writers the modem city has come to mean as much a style, a fractured syntax, a paratactic sign-system, as a physical construct with certain demonstrable boundaries. In the works of such authors as halo Calvino and Francesca Duranti the crisis of reason is symbolized by indeterminate aleatory structures - such as the labyrinth or the chessboard - all of which can be considered variations on the theme of the modem city. Calvino and Duranti’s invisible or labyrinthine cities serve as an infinitely malleable poetic dramatization of the mind. The cities are both projections of their respective narrators and images that shape the reader's experience. By analysing the spatial structures of the narratives and by examining the use of space as a locus of fantasy this article shows how these novels chart cityscapes of the mind.