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Journal articles on the topic 'Music and narration'
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1
Klein, Michael L. "Chopin Fragments: Narrative Voice in the First Ballade." 19th-Century Music 42, no. 1 (2018): 30–52. http://dx.doi.org/10.1525/ncm.2018.42.1.30.
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This article considers the problem of narration in a collection of works gathered around Chopin's Ballade in G Minor, op. 23: Guillermo del Toro's Crimson Peak, Poe's “The Raven,” Mickiewicz's Konrad Wallenrod, Dickens's The Chimes, and Władysław Szpilman's The Pianist along with its cinematic adaptation by Roman Polanski. Chopin's Ballade is featured prominently in the two movies under consideration, while the remaining works are either influential for the composer (Konrad Wallenrod) or develop themes common to the Ballade. Study of narration in these works reveals that the narrator can be just as unstable in literary texts as in musical ones. The problems of narration that have been imputed to music are problems of narration itself. Regarding the era of Chopin's Ballade, these problems also point to unstable models of subjectivity, which the logic of narrative glosses over.
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McDonald, Matthew. "Silent Narration? Elements of Narrative in Ives's The Unanswered Question." 19th-Century Music 27, no. 3 (2004): 263–86. http://dx.doi.org/10.1525/ncm.2004.27.3.263.
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In recent years, discussions of narrative in music seem to have fallen into decline. This circumstance might register the effects of the strong stances taken by a few influential writers in the early 1990s regarding the extent to which music can be understood as narrative. This article shifts focus to a different concern, the extent to which music can be related to narrative metaphorically. Using narrative as flexible conceptual framework, it considers Charles IvesÕs The Unanswered Question, a piece whose foundational narrative impulse few would dispute. The central narrative aspects include compositional techniques particular to the twentieth century, such as reordered chronologies and the layering of seemingly independent material. These features suggest comparison with various aspects of narrative structure and narration in literary and filmic narratives. The comparison suggests new ways of conceptualizing IvesÕs music, showing how new techniques intersected with narrative forms, and it suggests that a broader case could and should be made for the continued utility of narratological approaches to music of many different kinds. Particular attention is given to IvesÕs short programmatic note of the early 1930s. The existential program, as expressed through this text and amplified by the music, intersects with the language, imagery, structure, and worldview conveyed in Ralph Waldo EmersonÕs poem The Sphinx and IvesÕs "Emerson" essay from Essays before a Sonata. These connections strengthen the notion that both the program and the music were creative reactions to EmersonÕs writings and that some protoversion of the 1930s program existed in Ives mind on composing the 1908 version of the piece. Seeing the presence of Emerson behind IvesÕs original conception of The Unanswered Question helps us to understand the origins of the distinctly narrative aspects of the work and suggests other potential narratives besides the familiar one offered in IvesÕs note.
3
Ciric, Marija. "Narration and film music diegetic and non-diegetic music in film." Kultura, no. 134 (2012): 129–40. http://dx.doi.org/10.5937/kultura1234129c.
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Kanno, Mieko. "The rhetoric of the shadow: a semiotic study of James Clarke's Isolation." Tempo, no. 215 (January 2001): 27–31. http://dx.doi.org/10.1017/s004029820000824x.
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A musical work can tell a story as beautifully as a work of literature can. In music we may not easily grasp the meaning of the story but there is nevertheless a fascination about its semantic potential. The type of narrative such a work expounds can be described as allegorical, because of the ambiguity of its semantic definition. We are free to interpret it in whatever ways we like, but one of the interests in a narrative is the way in which it encodes specific strategies of interpretation for the listener. As long as there is a story there are always characters involved who act as the reader, the narrator, and the author behind the work, regardless of whether they really exist as actual people. This discussion focuses around the role of the reader-listener: its aim is to show that the reader-listener's contribution is a fundamental element in understanding not only the process of narration but also the work's aesthetic scheme itself.
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McClatchie, Stephen. "Narrative Theory and Music; Or, the Tale of Kundry's Tale." Canadian University Music Review 18, no. 1 (March 15, 2013): 1–18. http://dx.doi.org/10.7202/1014817ar.
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In recent years, narrative theory has been an influential model for many writers on music. Things in musical syntax like repetitions, expectations, and resolutions make it tempting to speak of music as narrative, as an emplotment of events, yet such a model in fact involves more narrativization than narrative. It is perhaps more fruitful to focus upon the musical side of unambiguously narrative moments. In this paper, I want to try to integrate recent approaches to musical narration by suggesting that narrative in music is a performance which functions according to the logic of the supplement. My approach will be two-fold: first, I want to justify restricting the enquiry to pre-existing narratives set to music by considering the limitations of the emplotment model; second, I shall use Kundry's Act II narrative in Wagner's Parsifal as a magnet to attract a number of narrative approaches: some will stick and some will not.
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Wang, Dan. "Melodrama, Two Ways." 19th-Century Music 36, no. 2 (2012): 122–35. http://dx.doi.org/10.1525/ncm.2012.36.2.122.
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Abstract The word “melodrama” has accumulated a vast range of uses and definitions. It is the name given to the technique of combining words and music (as in the nineteenth-century musical genre); it is also used to name a mode of expressivity that is exaggerated, excessive, sentimental. These definitions appear unrelated, yet the melodramatic mode also seems to emerge frequently in musical contexts, such as opera and film—raising the question of whether the joining of words and music as such already tends toward, or attracts, a melodramatic impulse. This article first sketches the features of the melodramatic mode as they are described in writing on theater, film, and the novel before turning to a close reading of Richard Strauss's Enoch Arden, op. 38, a melodrama for speaker and piano. I aim to show that not only the themes of Enoch Arden's narrative but also the form of its narration, the meaningfulness it draws from the facts or conditions of narration as such, provide its claim to the melodramatic mode.
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Liu, Xia. "The narrative in vocal music: the genre aspect." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 230–42. http://dx.doi.org/10.34064/khnum2-18.13.
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Logical reason for research. Relevance of the presented topic is determined by the fact that with the help of knowledge gained in the field of inter-scientific interaction, it is possible to obtain new research results on both, traditional and new issues of musicology. In vocal music, which combines musical and extra-musical factors, there are a number of its own “eternal questions”, one of which is the interaction of the word and music. There is no definite answer to the question of what is the leading in the vocal art – a word or music, each time this is decided individually within the framework of a certain genre and style. But there is always a certain verbal “programming” of a vocal composition with the text. One of the serious and complex concepts associated with a textual basis is the “narrative”, and the study of the effect of the narrative in the musical art requires a special attention in both theoretical and practical directions. Innovation. The article is devoted to considering a narrative in the vocal music in the genre aspect. The narrative nature is understood as a narrative orientation associated with a certain emotional content; at the same time, the narrative is characterized, on the one hand, as a factor of the verbal text of a vocal composition (the extra-musical component), and, on the other hand, as a factor of a single whole vocal composition (the musical component). From the point of view of its implementation, the narrative in vocal music has two main functions – the composer’s one and the performer’s one, which in its own way manifests itself in various vocal genres. The most striking of the narrative vocal genres in vocal music are the opera and the ballad. In the opera, the narrative has a more complex synthetic nature in connection with the interaction of various types of art (music, literature, theatre). In the chamber-vocal genre of the ballad, the narrative side is presented more revealingly and is more closely associated with the verbal text (which is due to the literary origin of the genre). The purpose of the present study is to identify the specifics of the narrative in vocal music in the genre aspect. The main methods of the presented research are the genre one and the functional one. The genre method is necessary to characterize vocal genres in connection with the chosen perspective for studying the meaning and the effect of the narrative in vocal music. The functional method allows one to determine the peculiar features of the interaction of the extra-musical narrative and music in the conditions of various vocal genres. The research results. The directions of the interaction of words and music in the vocal art are diverse: this can be their interaction in a concrete composition through the prism of the style (of the performer, the composer, and the historical epoch); the features of the composer interpretation of the verbal text; the intonation and phonic patterns associated, for example, with a specific national source, and much more. The verbal text as a guideline, already being coloured emotionally, is representing, in fact, a kind of narration. As it is known widely in the field of philosophy and psychology, the narrative is a statement of interrelated events presented in the form of the sequence of words or images. Sometimes the meaning of the term “narrative” coincides with the words “narration”, “story”; but there are other meanings (for example, as a “psychological attitude”). In music, these two meanings, “narrative” and “psychological attitude”, interact, as a result, within the framework of certain vocal genres the individual creative decisions born. The main feature of a narrative composition is the presence of a mediator between the author and the world of narrative (Schmid, V., 2008). This is especially important for understanding the specifics of the manifestation of the narrative nature in music, where there is such a “mediator”. In vocal music there are other signs of narrative, understood as the quality of the verbal text itself, because the genres of vocal music are quite diverse in scale and objectives – from the opera to the vocal miniature. The narrative qualities are primarily possessed by those texts that describe the figurative and emotional situation from a third person, a storyteller. In vocal music, this applies primarily to genres with the leading literary and the vivid plot beginning – these are musical and theatrical compositions (an opera), as well as the chamber-vocal genre of a ballad. The narrative qualities of the musical component can manifest themselves in different ways – both, on permanent basis, to enhance the emotional effect, and in opposition, for a contrasting juxtaposition and creating a dramaturgy layering and volume. The musical accompaniment often “deciphers” for the listener that emotional, figurative, plot subtext that is partially absent in the literary text, according to the laws of the narrative nature. The tasks of the vocalist as an interpreter of compositions of the narrative genres are the ownership of the special complex of performing techniques related to the need to identify the entire figurative potential, which is embedded in the vocal composition (both in the text part and in the music one), as well as in its presentation to the listener in an individual performing version. With this, each genre possesses with its own specifics. An opera is a genre where the musical and literary art interacts with the theatrical art. The chamber-vocal genre of a ballad has its own characteristics, the main of which the narrative nature is. Conclusions. The narrative nature in the art of music is primarily associated with its extra-musical source. Both literary criticism and psychology study the narration, since the narrative as a story-telling is characterized by an emotional attitude, which is dictated from the outside to the one to whom the narrative is directed. Since the text (the word) is also used in vocal music, it is possible and necessary to talk about the existence of the narrative in music with all the specifics of its action. In vocal music, one can distinguish genres where the word text contains the narrative to a greater extent, which determines the specifics of the genre. This is the opera, but there the narrative is associated not only with the literary, but also with the theatrical factor. A more revealing vocal genre in the aspect of the narrative nature is such a genre of the chamber-vocal music as the ballad. The prospects for the study of the narration in the musical art are associated both, with the interaction of the musical and extra-musical principles and the issues of musical interpretation, which the performing musicology considers. Since the narrative prepossess a mediator between its source and the recipient, and in the musical art there is also a mediator between the author (the composer) and the listener.
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Stutterheim, Kerstin. "Music as an Element of Narration in Poetic Documentaries." New Soundtrack 8, no. 2 (September 2018): 103–17. http://dx.doi.org/10.3366/sound.2018.0124.
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Seamon, Roger. "Acts of Narration." Journal of Aesthetics and Art Criticism 45, no. 4 (1987): 369. http://dx.doi.org/10.2307/431327.
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SEAMON, ROGER. "Acts of Narration." Journal of Aesthetics and Art Criticism 45, no. 4 (June 1, 1987): 369–80. http://dx.doi.org/10.1111/1540_6245.jaac45.4.0369.
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Ostrowski, Marek. "Narration as the production of sense using the example of a music video of the song All by Myself by Celine Dion." Acta Universitatis Lodziensis. Folia Litteraria Polonica 58, no. 3 (September 30, 2020): 95–111. http://dx.doi.org/10.18778/1505-9057.58.06.
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The narration in the music video to Celine Dion’s song All By Myself is a linearly organised construct or composition equipped with features of logicality, which organises specific linguistic or image-based material. It constructs a fiction based on the principles of dramatism. If one assumes that a music video can be analysed as a system which produces meaning, then the production occurs mainly within two dimensions. Firstly, as fiction, and secondly, as narration. The sequential editing adds significance to the entire film. The specific connection points of individual scenes influence the interpretation of the images by viewers – they extract the significance of a portion of the music video. Surely this phenomenon could be defined as a production of sense.
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Bernard, Cara Faith, and Matthew Rotjan. "“It Depends:” From Narration Sickness to Wide Awake Action in Music Education." Action, Criticism, and Theory for Music Education 20, no. 1 (February 2021): 53–83. http://dx.doi.org/10.22176/act20.1.53.
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In this article, we query how action is contextualized and used in music education, centering the discussion around problems of calling for change without taking action, what Paulo Freire terms “narration sickness.” Narration sickness manifests in social media, conferences, and professional development sessions—where words convey ideas as grand narratives, devoid of context, causing a division between those who present ideas from those who enact them in practice. We describe how music educators may become unintentional slacktivists, “woke” to the need for action, attempting to improve the field with limited (if any) action at all. We invite music educators to counter “wokeness” with what Maxine Greene calls being “wide awake,” offering examples of educators who demonstrate change. We seek to expand the definition of action, drawing upon what Freire and Marx term as praxis, seeking actionable approaches in teaching, researching, and learning across age levels, settings, and contexts.
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El Haj, Mohamad, Sylvain Clément, Luciano Fasotti, and Philippe Allain. "Effects of music on autobiographical verbal narration in Alzheimer's disease." Journal of Neurolinguistics 26, no. 6 (November 2013): 691–700. http://dx.doi.org/10.1016/j.jneuroling.2013.06.001.
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Sieving, Christopher. "Super Sonics: Song Score as Counter-Narration in Super Fly." Journal of Popular Music Studies 13, no. 1 (March 2001): 77–91. http://dx.doi.org/10.1111/j.1533-1598.2001.tb00014.x.
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Anderson, Kim M., and Jonathan R. Cook. "Challenges and Opportunities of Using Digital Storytelling as a Trauma Narrative Intervention for Traumatized Children." Advances in Social Work 16, no. 1 (July 27, 2015): 78–89. http://dx.doi.org/10.18060/18132.
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This article address the challenges and opportunities of implementing a web-based Digital Storytelling (DS) curriculum to supplement the trauma narrative component of Trauma-Focused Cognitive Behavioral Therapy (TF-CBT) for traumatized youth, ages 9-17, receiving mental health services at a rural domestic violence (DV) agency. Digital storytelling, as the term suggests, combines storytelling with technology that integrates a mixture of digital images, text, audio narration, and music. Ultimately, implementing the DS curriculum empowered youth to process and develop their trauma stories in a multi-sensory, accessible and coherent manner. In doing so, they gained tools (writing, narrating, illustrating, and ultimately assembling their own stories) to form adaptive responses regarding their family violence experiences in its immediate aftermath and possibly over time. Agency implications are discussed regarding training, technical, and confidentiality issues related to the implementation of a web-based DS curriculum.
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Putry, Dessyratna, Aquarini Priyatna, and Lina Meilinawati Rahayu. "Perubahan Identitas Musik Pop pada Versi Cover di Indonesia." INVENSI 3, no. 2 (December 31, 2018): 1–15. http://dx.doi.org/10.24821/invensi.v3i2.2414.
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Abstrak: lagu Sh-Boom karya Crew Cuts (musisi kulit hitam) yang awalnya bekemudian berubah menjadi genre pop oleh musisi kulit puith. Lagu Shorisinal dipublikasikan pada 19 Juni 1954 dan versi cover-nya munculPada 10 Juli 1954 lagu Sh-Boom masuk dalam daftar lagu-lagu pop hitahun kemudian versi cover ini direkam dan dipublikasikan sebagai lagoleh musisi kulit putih. Pada masa itu sudah menjadi hal yang lumrah
musisi kulit hitam di-cover oleh musisi kulit putih. Sindrom cover versaja disebabkan oleh permasalahan rasisme, melainkan juga karena pantara label rekaman keduanya.
Sementara itu, sejarah versi cover di Indonesia ditulis oleh Wa216) dalam Modern Noise, Fluid Genres: Popular Music in Indonesia, 1
Penelitian ini membahas perubahan identitas musik pop Indonesia yang dipublikasikan
melalui situs YouTube. Lagu yang diteliti adalah Akad dari Payung Teduh yang di-cover
oleh Mas Paijo dan Pamit dari Tulus yang di-cover oleh Sintesa Vocal Play. Penelitian ini
menggunakan pendekatan transit dan transisi dengan kajian tekstual dan kontekstual pada
identitas kedua lagu tersebut. Tujuan dari penelitian ini ialah untuk menemukan
bagaimana identitas musik (lagu) beserta musisinya mengalami perubahan; dari versi
orisinal menjadi versi cover. Dalam penelitian ini dipahami bahwa versi cover merupakan
bentuk pembaruan musikal. Penjelasan mengenai perubahan identitas dalam kedua versi
ini dibahas pada dua substansi. Pertama, narasi tentang peran teknologi dalam pembaruan
musikal; kedua, uraian tentang perubahan identitas dalam narasi musikal yang meliputi
lirik lagu, format lagu, instrumentasi, video musik berserta musisinya. Dengan demikian,
perubahan identitas yang ditelaah dalam penelitian ini meliputi dua versi lagu: orisinal
dan cover dengan dua narasi yang berbeda.
Abstract: contohnya: Band Tor yang meng-cover lagu-lagu Jimi Hendrix, Rastafarlagu-lagu Bob Marley kemudian T-Five meng-cover lagu-lagu Korn and saat itu versi cover diciptakan bukan hanya dari segi komposisi musiknyjuga pada aksi panggungnya. Hingga kini versi cover semakin berkembangdiunggah melalui situs YouTube.
Fenomena cover version yang tidak terlepas dari penggunaan tmengantarkan pada pembahasan bagaimana teknologi dan seni (musik)ini diuraikan oleh Yangni (2016: 4-5) bahwa kaitan antara seni dan teknolsejarah relasi keduanya tampak terpisah, namun secara esensial keduany
Merunut mundur pada zaman Yunani, tidak ada pemisahan sama sekaliteknologi. Keduanya sama dan satu dilakukan oleh tiap individu dalam
This research discusses changing identity of Indonesian pop music’s that was published
on YouTube. Spesifically, there are two song’s (consist of original version and cover
version) discussed here: firstly, Akad original version by Payung Teduh and cover
version by Mas Paijo; secondly, Pamit original version by Tulus and cover version by
Sintesa Vocal Play. This research applies transit and transition approach in which the
signs in textual and contextual data are examined in their identity. The aim of this
research is to find out how music and musician identity are represented in their song’s
include in cover version. This research shows that cover version is defined as music
renewal of the whole music and musician narration. Description about changing identity
in both version (original and cover) was observed in two subject. Firstly, narration about
technology involvement in music renewal and secondly, description about changing
identity in musical narration (including in song lyrics, song forms, instrumentation, music
video and the musician). It can also be said that changing identity refers to both version
(original and cover) with two different descriptions.
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Muhonen, Sari. "Students' experiences of collaborative creation through songcrafting in primary school: Supporting creative agency in ‘school music’ programmes." British Journal of Music Education 33, no. 3 (July 15, 2016): 263–81. http://dx.doi.org/10.1017/s0265051716000176.
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The study reported in this article investigates students’ experiences (n=41) of their primary school songcrafting, examining the potential to support creative agency within school music education programmes. Songcrafting refers to a collaborative composing practice in which everyone is considered to be a capable creator of melodies and lyrics, and where negotiation, collaboration, and openness to the situation are essential. Through semi-structured individual interviews with students who had experienced songcrafting in the past, analysed with qualitative methods, it was found that the students' narration of songcrafting included meanings related to general agency, creative agency, musical participation within the classroom community, and documented and shared collaborative musical products, or ‘oeuvres’.The results of this study illustrate the various often unforeseeable meanings produced through participation in collaborative musical activities. Furthermore, they highlight the potential to enrich meaningful teaching practices and pedagogy through the examination of students' experiences, and exploring the potentials in narrating one's musical stories. These findings suggest that music education practices could benefit from the inclusion of a broader range of opportunities for the students to create their own music, and the sensitive facilitation of collaborative music creation processes.
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Rasmussen, Ljerka Vidić. "From source to commodity: newly-composed folk music of Yugoslavia." Popular Music 14, no. 2 (May 1995): 241–56. http://dx.doi.org/10.1017/s0261143000007467.
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There is a shared view among insiders that the release of the recording ‘Od izvora dva putića’ ([There are] ‘Two paths leading from the water spring’) by Serbian female singer Lepa Lukić in 1964, marked the beginning of the ‘market history’ of Yugoslav novokomponovana narodna muzika (newly-composed folk music; henceforth NCFM). The song's lyrics depict a young woman in a rustic village whose love is thwarted when her lover moves to the city. The music evokes a motif typical of the Central-Serbian region of Šumadija: a tuneful melody, steady 2/4 rhythm, and a caressing quality in the narration. The title of the song is highly symbolic of the divergence of Yugoslav folk music into a continuing narodna muzika (folk; literally, ‘people's’ music) and an emerging pop stream.
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Labia, Julien. "Music in migrant camps as a medium creating non-narrative human relationships." Crossings: Journal of Migration & Culture 12, no. 1 (April 1, 2021): 347–60. http://dx.doi.org/10.1386/cjmc_00036_1.
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A migrant camp is a ‘non-place’ where personal identity is put at risk. Music is a means of personal adaptation in camps, even if it means allowing little place for the real reasons for displacement of the very people shaping these new hybridizations of music. The present power of music in such a place is to create strong relationships, ‘shortcutting’ both narration and the longer time needed in order to create relationships. The kind of personal advantage it is for someone to be a musician is a topic surprisingly forgotten, obscured by theoretical habits of seeing music essentially as an expressive activity directed to an audience, or as being a communicative activity. Music has a performative power different from language, as a non-verbal art having a strong and direct relationship to the body. Musical interactions on the field give migrants the ability to balance their problematic situation of refugees, shaping a real present.
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Österberg, Ira. "Musiikki ja kerronnan tasot Kirill Serebrennikovin elokuvassa Kesä." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 32, no. 2 (July 1, 2019): 8–26. http://dx.doi.org/10.23994/lk.83447.
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Venäläisen ohjaajan Kirill Serebrennikovin elokuva Kesä (Leto, Venäjä 2018) on tositapahtumiin perustuva, mutta silti voimakkaan fiktiivinen kuvaus Neuvostoliiton underground-rockin noususta valtavirtaan 1980-luvun alkupuolella, päähenkilöinä kaksi neuvostorockin tosielämän suurnimeä Majk Naumenko (1955–1991) ja Viktor Tsoi (1962–1990). Elokuvassa kuullaan luonnollisesti paljon musiikkia: venäläisiä ja länsimaisia 1980-luvun alun rock-hittejä sekä alkuperäisinä että uusina tulkintoina, mutta myös elokuvaa varten sävellettyä originaalimusiikkia. Kesä voitti parhaan soundtrackin palkinnon Cannesissa 2018, mutta sai Venäjällä ristiriitaisen vastaanoton.Artikkelissa keskitytään tarkastelemaan Kesän musiikinkäyttöä formalistisen lähiluvun ja rakenneanalyysin keinoin. Tarkastelun keskiössä on erityisesti elokuvamusiikin narratologia ja Claudia Gorbmanin (1987), Rick Altmanin (1987) ja Guido Heldtin (2013) määritelmät diegeettisyydestä, ei-diegeettisyydestä, supradiegeettisyydestä sekä ekstrafiktiivisyydestä. Tutkimuskysymyksenä on se, miten Kesä-elokuva käyttää neuvostoajan rockia elokuvamusiikkina ja miten tämä musiikinkäyttö ankkuroituu neuvostoelokuvien rock-musiikkikonventioihin.Kesän musiikkistrategiassa muodostuu selkeä vastakkainasettelu kotimaisen ja ulkomaisen, elävän ja nauhoitetun, sekä alkuperäisen ja uudelleentulkitun musiikin välille. Eri musiikkityylien ja kerronnan tasojen välille muodostuu elokuvassa tietynlainen säännönmukaisuus ja tehtävänjako. Se miltä kerronnan tasolta musiikin katsotaan milloinkin tulevan vaikuttaa vahvasti siihen, miten realistisena minkäkin kohtauksen voi lukea, ja tämä puolestaan sitoo elokuvan eri genreperinteisiin: realistisempi, diegeettinen musiikkiesitys ankkuroi elokuvan elämäkertaelokuvien genreen, kun taas täysin epärealistiset, supradiegeettiset musiikkiesitykset viittaavat enemmän musikaaliperinteeseen.
Music and Levels of Narration in Kirill Serebrennikov’s film LetoRussian director Kirill Serebrennikov’s Leto is a film about the rise of the underground rock scene into the mainstream in early 1980s Soviet Union. The film is based on a true story and the lives of two rock legends Majk Naumenko (1955–1991) and Viktor Tsoi (1962–1990), even though it also contains plenty of highly fictitious elements. The music track features Russian and Western rock songs of the era both as original performances as well as cover versions, additionally there are also excerpts of original score. Leto won the best soundtrack award in Cannes in 2018, but it received mixed reviews in Russia.This article analyses the use of music in Leto through formalist close reading and structural analysis. The analysis relies heavily on film music narratology and in particular on Claudia Gorbman’s (1987), Rick Altman’s (1987), and Guido Heldt’s (2013) definitions of diegeticity, non-diegeticity, supradiegeticity, and extrafictivity. The research question concerns how is Soviet era rock used as film music in Leto, and how does this use relate to the rock music conventions in Soviet cinema.In the musical strategy of Leto, there arises a juxtaposition between domestic and foreign music, as well as live and recorded, and original and re-interpreted music. Furthermore, there is a structure and logic in the way the different types of music relate to the levels of narration throughout the film. The narrative level that the music is anchored to has an effect on the interpretation of individual scenes and events as realistic or unrealistic. This also anchors the film in different film genres or traditions: a more realistic, diegetic music performance is connected with traditional biopic dramas, whereas the unrealistic, supradiegetic musical performances are more closely connected with the tradition of Hollywood musicals.
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Liu, Xia. "The ballad as a narrative genre of the chamber-vocal music." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 123–36. http://dx.doi.org/10.34064/khnum2-21.08.
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The ballad as a narrative genre of the chamber-vocal music. Logical reason for research. The relevance of the topic of the present research is due to the fact that in music the interaction of purely musical and extra-musical phenomena continues to remain in the focus of increased attention of the researchers who represent both musicology and other areas of humanitarian knowledge. This interaction has a synergistic effect, which lies in the fact that the combination of the simultaneous influence of words and music, integrated into a single whole, leads to a significantly greater effect of these factors together, rather than separately. Such emergence is clearly manifested during all types of musician’s activities – composing, performing, listening, but has not yet been sufficiently developed in musical science. And the need for a connection between musical science and practice directs our attention to such types of synergistic interaction in music, and one of the most basic is the interaction of music itself (of purely musical, sound patterns) and the verbal text (of the sphere of extramusical – specific images, characters, events, etc.). One of the concepts associated with the verbal text, which has its own specific qualities, is the “narrative”, and the study of the narrativeness as a special property (or a complex of properties) of a vocal musical composition with a narrative text, its potential, performance specifics and characteristics of perception by the listener seems relevant both in theoretical and practical directions. Innovation. The article is devoted to a chamber-vocal ballad, one of the genre indicators of which is the narrativeness. The narrativeness is understood as a special quality of a musical composition, in particular, a vocal one, which relies on narration (both verbal and achieved by means of musical expression). The narrative narration is connected, on the one hand, with eventfulness, plot; on the other hand, it is characterized by an emotional and ethical assessment of the reflected events. In the vocal music, the conductor of the narrative is the word, however, only those genres of the vocal music can be defined as narrative, where the verbal text itself has narrative qualities. The vocal ballad is such among the genres of the vocal music, and its literary origin and narrativeness as the main genetic trait determined the corresponding narrative specificity. The narrativeness as a genre factor in the ballad is the result of the synthesis of a narrative verbal text and the corresponding eventfulness of a vocal composition (an extra-musical component) and the specifics of their musical embodiment (a musical component). As one of its tasks the concert practice of a vocal ballad performer has the realization of the narrativeness as a quality of the performing-composing interpretation, which represents the understanding and presentation of the artistic potential of a musical composition. The narrativeness can manifest itself at different levels of the musical text of the ballad, usually enhancing the emotional and ethical assessment of the events. Objectives. The purpose of the present research is to reveal the specifics of the narrativeness of the chamber-vocal genre of the ballad. Methods. The main methods of the presented research are genre and systemic. The genre method is associated with the need to characterize the chamber-vocal genre of the ballad in connection with the chosen perspective of studying the meaning and action of the narrative in it. The systemic method makes it possible to identify and systematize the peculiarities of the interaction of the extra-musical narrative and the means of musical expression in a specific genre, namely, the chamber-vocal ballad. Results and Discussion. The movement into the inter-disciplinary field remains a promising growth point in modern research in the sphere of humanities, where different areas of knowledge actively interact and share their experience. This also applies to musicology. Active assimilation of knowledge from other sciences helps to see from a new perspective many problems, the study of which by traditional methods has practically exhausted its potential. One of the concepts that can help in the study of the patterns of interaction between words and music in musical art is the “narrative” as a special quality of the verbal text. The narrative involved in the field of musical science receives additional scientific “saturation”, scientific meanings and research perspectives. The development of an integrative scientific approach for two disciplines such as linguistics and musicology goes beyond their case studies and focuses on connecting the laws of “musical structures” to the analysis of the verbal text: for example, such concepts as tension and decline, open and closed form, the lyrical, harmonic content, etc. The need to comprehend the dynamic nature of the narrative text leads to an expansion of the horizon of research related to the concepts of the birth of the text and the perception of the text, and the theory of musical forms is the closest to the narratology in this regard. Indeed, the organization of verbal and musical communication obeys the general laws of dynamism and temporality: the basis of both linguistic and musical structures is the procedural nature of the development of information. The convergence of musicality and narrativeness has led to the development of such a concept as a “musical intrigue” in the works of the French narratologists R. Barony, F. Revaz and others. In musical science, there is a concept that, in our opinion, is associated with a “musical intrigue”, but is more capacious and better explaining the narrative in music of both, a purely musical and extramusical nature – this is musical “eventfulness” (N. Gerasimova-Persidskaya, A. Ivko, and A. Durnev), which is understood broadly and multi-dimensionally, both in connection with the events “introduced” to music with the word, and with purely musical “events” – harmonic, rhythmic, intonational, timbre-acoustic, etc. Such musical eventfulness, unfolded in the narration with a sequential presentation of the events from the “third” person and an emotional assessment of the happening things – both in the verbal and musical text, is most clearly represented in the chamber-vocal genre of the ballad. Owing to the literary origin of the genre and its original narrative nature, it has retained its narrative nature in music (this applies to both the vocal and instrumental ballads). Most often, the musical text in the vocal ballad is subordinated to the verbal one, it is an illustration of the events that are taking place and at the same time enhances their emotional assessment. Conclusions. The narrativeness in the vocal music is primarily related to its extra-musical source. The narrativeness as a special quality of a narrative eventful text is characterized by an emotional attitude and a corresponding assessment, which is dictated from the outside (by the “storyteller”) to the person at whom the narrative is directed – in the sphere of musical practice this is the listener. Since the text (the word) is used in the vocal music, here we should talk about the narrative with all the specifics of its action. Very various texts are used in the vocal music, and not all of them are narrative, therefore, the narrativeness as a genre quality in its pure form can be traced in the genre of the vocal ballad due to its literary origin and narrative character. That is why the most indicative vocal genre in the aspect of the narrativeness is such a genre of the chamber-vocal music as the ballad. The nature of the narrativeness: in the vocal ballad it determines the verbal text, and the means of musical expression, as a rule, embody both the events reflected in the text and their emotional assessment. The prospects for the study of the narrativeness in musical art are associated not only with the characteristics of the interaction of musical and extra-musical principles in the vocal music (both in the chamber music and in the large genres), but also with the study of manifestations of the narrativeness in instrumental music, especially in such compositions that are not associated with extra-musical manifestations even in minimal form (program headers and the like). In addition, since the narrativeness is associated with a “storyteller”-intermediary between the source of information and its recipient, it can be argued that the narrativeness in musical art is also associated with the performing art as one of its tasks, literally or figuratively.
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DIEHL, NICHOLAS. "ImaginingDe Reand the Symmetry Thesis of Narration." Journal of Aesthetics and Art Criticism 67, no. 1 (February 2009): 15–24. http://dx.doi.org/10.1111/j.1540-6245.2008.01331.x.
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Smith, Andrea. "Noise, narration and nose-pegs: Adapting Shakespeare for radio." Radio Journal:International Studies in Broadcast & Audio Media 19, no. 1 (April 1, 2021): 41–58. http://dx.doi.org/10.1386/rjao_00033_1.
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The BBC’s first director general, John Reith, believed the plays of Shakespeare were perfect for radio, with ‘little in the way of setting and scenery’ and relying chiefly on plot and acting. However, a closer look at the texts reveals that many require a good deal of adaptation to work in sound only. That has not stopped BBC radio producers creating hundreds of productions over the past century. Instead, it has spurred many of them on to greater creativity. Initially reliant on narration, producers began to devise a wide range of techniques to make Shakespeare comprehensible without visuals. These include specially devised sound effects, soundscapes and music, as well as distorting the actors’ voices in various ways, including using nose-pegs and the assistance of the Radiophonic Workshop. This article uses audio and written evidence to uncover those techniques and examines how successful they have been deemed to be.
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Caballero, Carlo. "Silence, Echo: A Response to "What the Sorcerer Said"." 19th-Century Music 28, no. 2 (2004): 160–82. http://dx.doi.org/10.1525/ncm.2004.28.2.160.
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In "What the Sorcerer Said," Carolyn Abbate proposed a reading of Dukas's Sorcerer's Apprentice (1897) focused on the possibility of musical narration. The present essay shifts that focus to the question of the work's uncanniness and excess. In particular, where Abbate finds that the slow part of the epilogue resonates with her understanding of the work as an instance of narration, I begin with the final two measures of the work, which suddenly revert to the fast tempo of the central scherzo. These final measures, which Abbate does not mention, produce a disturbing regression that suggests another reanimation of the broom. This "third beginning" (thus heard in relation to the two preceding moments of animation) marks the broom as an agent of the uncanny (heimlich and unheimlich) in the sense identified by Freud in his essay "Das Unheimliche" (1919). Indeed, Dukas's work as a whole is haunted by motives Freud later identified as uncanny: magic, the omnipotence of thought, animism, and involuntary repetition. The essay works backward from the final noise of the piece into a re-reading founded on musical details such as the representation of the brooms through minor- and major-third dyads, the role of the pitch-class Ab, the structure of the central "reanimation scene," and the dismal interplay of motives associated with the broom and the Apprentice. Close attention is given to Dukas's immediate literary source, Goethe's ballad "Der Zauberlehrling," whose use of assonance and repeating rhymes provides subtle structural cues echoed in Dukas's music; I argue that the relationship between the ballad and Dukas's score is more homologous than Abbate was willing to allow. A number of revisions to Abbate's account also emerge through reference to a descriptive note on The Sorcerer's Apprentice left by Dukas in manuscript (Paris B.N.F. Musique MS 1037). Finally, I suggest that this "symphonic scherzo after Goethe" conflates literary and musical logics into a peculiar kind of fiction that points to the uncanny nature of narrative itself. Dukas's work ultimately engages the issue of mastery by focusing the listener's attention on the failure of authority and the contingency of animation or de-animation. In this Lacanian "overflow" into the unknown, the musical work goes beyond its literary sources, for the broom, not the human figure of the Apprentice, becomes the true protagonist of Dukas's work.
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Schmidt, Siegfried J. "Past: Notes on Memory and Narration." Empirical Studies of the Arts 7, no. 2 (July 1989): 191–202. http://dx.doi.org/10.2190/1lj0-bjt6-xmx5-lrxy.
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Memory is a crucial topic not only for psychology but also for literary studies. The conceptualization of notions as narration, biography or autobiography immediately depends on how memory and the process of remembering are theoretically modeled. This article presents a short survey on concepts of memory, concentrating on constructivist approaches, and their impact on concepts of time, history, and narration in literary studies.
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Miazga, Krystyna. "Novecento, celui qui n’existait pas." Quêtes littéraires, no. 2 (December 30, 2012): 124–33. http://dx.doi.org/10.31743/ql.4633.
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The division of the article into three parts represents the three phenomena of absence present in Novecento, a work of Alessandro Baricco. First, the author discusses the peculiar existence of a main character, which, on the internal level of the story told in the book, is full of absence. On the external level, the author focuses on the manner of narration and stage performance (didascalia). His second scope of interest is the lack of author’s unanimous statement concerning the text genre, as well as the interspersion of important elements of drama, theatre and both, pure narrative and music forms. This, recently quite popular phenomenon, has been called hybridity. It allows the juxtaposing of contrasts, joining of contradictions and departures from the accepted specific rules in favour of artistic generic disarray. Moreover, this part of the paper stresses the difference between the original title and its French translation. The extra information added in the French version highlights the lack of precision in the original title. This significantly influences the readers’ choice. The third phenomenon discussed in the article is music. It has its special place among Baricco’s works. In Novecento, music is the second, after the pianist, protagonist. It can be even treated as equally important. However, the lack of a musical code (a proper way of communication) reduces the domination of music. By using a linguistic sign, the author gave music an important function – being the catalyst and medium between what exists but cannot be seen and what can be felt but cannot be expressed in words. Absence, perceived by human senses and the inadequacy of verbal expression, is elicited through music and, paradoxically, it becomes present.
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Musegades, Paula. "Music and Levels of Narration in Film: Steps Across the Border by Guido Heldt." Notes 72, no. 2 (2015): 374–76. http://dx.doi.org/10.1353/not.2015.0138.
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Fisher, Alexander. "Between “the Housewife” and “the Philosophy Professor”: Music, Narration and Address in Ousmane Sembene'sXala." Visual Anthropology 24, no. 4 (July 2011): 306–17. http://dx.doi.org/10.1080/08949468.2011.583565.
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Pinheiro, Sara. "Acousmatic Foley: Staging sound-fiction." Organised Sound 21, no. 3 (November 11, 2016): 242–48. http://dx.doi.org/10.1017/s1355771816000212.
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This article proposes a narrative theory thought in terms that are specific to sound practice. It addresses two different fields – Acousmatic Music and Foley Art – as a possibility of understanding sound narration and conceptualising it around the idea of fiction. To this end, it begins from the concepts of sound-motif, sound-prop and sound-actors, in order to propose a dramaturgic practice specific to sound terms.The theory of sound dramaturgy acquires a practical outline by making use of multichannel constellations as a composition strategy, with specific loudspeaker arrangements. The theory advocates loudspeakers as the mediators of the experience and the stage as part of the audience’s assembly. This translates into a practice of staging sound fiction, which focuses on formulating a conjecture based on formal and factual structures, allowing for a direct relationship between the listener and the listening, between the sounds and their fictional location.
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Ghedin, Simona, Floriana Caccamo, Francesca Vannini, Maria Rosaria Stabile, Luca Caldironi, Francesca Meneghello, and Cristina Marogna. "Between Myth and Cure: Group Experience in Narrative Medicine with Neurological Patients." Research in Psychotherapy: Psychopathology, Process and Outcome 17, no. 1 (March 1, 2015): 33–42. http://dx.doi.org/10.4081/ripppo.2014.163.
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This research considers the observation of certain parameters within groups formed by patients affected by multiple sclerosis. A music/art therapist and a psychologist/psychotherapist at a neuro-rehabilitation structure in Venice led the groups. Our goal is to assess how the perception of the history of disease can change in patients by using myth and expressive-narrative workshops as a means of trans-formation. The following instruments were administered at the beginning, during, and at the end of the treatment: SCL–90–R, TAS–20, FAT.A.S.–G, and CGQ. Re-sults show a change in patients? perceptions of themselves, both with respect to their disease and to other people. Therefore, myths and their narration appear to be a possible resource that can promote mental transformation processes in an institu-tional neuro-rehabilitative context.
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Soldatova, G. E. "Music in Northern Khanty Folktales." Sibirskiy filologicheskiy zhurnal, no. 4 (2020): 41–62. http://dx.doi.org/10.17223/18137083/73/3.
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The paper describes the musical component in the folktales of the Northern Khanty. The work is based on published and unpublished sources. The author selected eighteen samples of folktales in three formats: sound recording, text transcript, and translation. Three basic types of intonating in the Khanty folktale were identified: singing, speech, rhythmized speech. Singing, in this case, is considered as intonating, intermediate between vocalization and speech. It can be shown in the musical notation indicating the pitch and rhythm. Rhythmized speech can be written without transmitting the sound pitch. Based on segmentation, the author analyzed the structure of folktales, determined the role of musical episodes and the specifics of tunes. As a result, it was established that the Northern Khanty folktale with music has two genre varieties (subgenres): a sung folktale and a folktale with musical (sung) episodes. The first variety is sung from beginning to end, with its tunes correlating with the epic nature of the narration. The second variety includes introductory tunes on the jaw’s harp, episodes with singing, with rhythmized speech, with a clear rhythmic formula in its tunes. The melodies from the group of tales about the greedy mouse are similar to the songs performed in dramatic performances at the Bear-Feast. Music in folktales acts as a differentiating factor within the genre and also shows the ambiguity of the boundaries between genres of the Northern Khanty folklore.
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Reinsch. "Music over Words and Sound over Image: "Rock Around the Clock" and The Centrality of Music in Post-Classical Film Narration." Music and the Moving Image 6, no. 3 (2013): 3. http://dx.doi.org/10.5406/musimoviimag.6.3.0003.
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Levinson, Jerrold, and George Wilson. "Narration in Light: Studies in Cinematic Point of View." Journal of Aesthetics and Art Criticism 47, no. 3 (1989): 290. http://dx.doi.org/10.2307/431012.
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Wood, Abigail. "Sound, Narrative and the Spaces in between: Disruptive Listening in Jerusalem’s Old City." Middle East Journal of Culture and Communication 6, no. 3 (2013): 286–307. http://dx.doi.org/10.1163/18739865-00603003.
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This article explores the intertwined roles of sound performance, listening and narration as agentive modes of parsing conflicted spaces in Jerusalem’s Old City. Via a series of ethnographic case studies, I illustrate some of the everyday ways in which overlapping geographies are constructed and communicated in public and semi-public ‘civil’ spaces at the contested seams of Israel and Palestine. In performing music in the city, citing poetry or pronouncing judgments on the soundscape, inhabitants and visitors draw upon both sensory experiences and a broad corpus of literary, artistic, historical and narrative commentary on the city. Drawing on the work of Michael Jackson and Davide Panagia, I suggest that unnarratable sensory experiences such as these might expose moments when political subjectivity is reconfigured, challenging unitary narratives by highlighting the inherent complexity and ambiguity of everyday experience.
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Sezgintürk, Pınar. "Narration Models Reflecting the Soul of Music: Ravel and All The Mornings in the World." LITERA 31, no. 1 (June 10, 2021): 159–75. http://dx.doi.org/10.26650/litera2020-824400.
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Cannon. "Awakening the Soul with the Left Hand: Narration and Healing in Vietnam's Diasporic Traditional Music." Ethnomusicology 65, no. 1 (2021): 62. http://dx.doi.org/10.5406/ethnomusicology.65.1.0062.
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Piseri, Federico. "«She’s leaving home, bye bye». The Sixties, the Birth of the Teenagers and a New Generational Narration." Rivista di Storia dell’Educazione 7, no. 1 (July 9, 2020): 31–40. http://dx.doi.org/10.36253/rse-9392.
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The article proposes a reading and interpretation of the generational conflict of the Sixties using rock music as its main source of investigation. Being halfway between mass consumption product and cultural product, the pop music of the time has significantly defined one of the generational narrations of the baby boomers, the counter-cultural one, which has become a generational myth, strong enough to darken other parallel narrations and annihilate those of the following generation. The lyrics of the songs, the musical scenes, the youth subcultures that sprung from them are analysed in their constant exchange with the youth of the time in the United Kingdom and in the United States. We can read in them the rapid changes that took a significant part of a generation from an empty aesthetic, according to the detractors, to the strong social and political commitment, imposing its will to emerge and to change the social patterns and first of all the bonds of the family defined in the first half of the twentieth century.
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Herget, Ann-Kristin, Holger Schramm, and Priska Breves. "Development and testing of an instrument to determine Musical Fit in audio–visual advertising." Musicae Scientiae 22, no. 3 (October 5, 2017): 362–76. http://dx.doi.org/10.1177/1029864917731127.
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Over the past three decades, several studies have explored the concept of Musical Fit in audio–visual advertising. However, a central problem is the inconsistency of the results derived from these studies. The current level of knowledge does not make it possible to safely predict whether and how Musical Fit influences recipients’ attention, brand and product recall, and positive attitudes toward commercials, including purchase intentions. One origin of this problem is the lack of a coherent definition and operationalization of Musical Fit. Therefore, this article describes the development of a transparent and applicable instrument to identify and determine Musical Fit in audio–visual advertising. Starting from music’s function of transporting and inducing emotions and its ability to communicate referential meaning, we designed a classification system for relating music to the three most important reference points of a commercial: the narration, the product, and/or the target group. Accordingly, Single, Double, and Perfect Musical Fit can be distinguished and classified into different types. To test whether the developed instrument is applicable in practice, we conducted a quantitative content analysis of 594 German TV commercials. After two pilot tests, the inter-coder reliability of two different coders improved to an average of .80, providing an indication of the instrument’s practicability. Surprisingly, the most common Musical Fit types were a Single Fit to Narration (50%), a matching largely unaddressed in studies to date, a Double Fit to Narration and Product (21%), and a Perfect Fit (15%), the type that is most difficult to create.
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RILEY, MATTHEW. "HERMENEUTICS AND THE NEW FORMENLEHRE: AN INTERPRETATION OF HAYDN'S ‘OXFORD’ SYMPHONY, FIRST MOVEMENT." Eighteenth Century Music 7, no. 2 (July 30, 2010): 199–219. http://dx.doi.org/10.1017/s1478570610000047.
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This article establishes a dialogue between twenty-first-century music theory and historical modes of enquiry, adapting the new Formenlehre (Caplin, Hepokoski/Darcy) to serve a historically oriented hermeneutics. An analytical case study of the first movement of Haydn's Symphony No. 92 (1789) traces the changing functional meanings of the opening ‘caesura prolongation phrase’. The substance of the exposition consists largely of things functionally ‘before-the-beginning’ and ‘after-the-end’, while the recapitulation follows a logic of suspense and surprise, keeping the listener continually guessing. The analysis calls into question Hepokoski and Darcy's restriction of the mode of signification of sonata-form movements to the narration of human action. The primary mode of signification of the recapitulation is indexical: it stands as the effect of a human cause. This account matches late eighteenth-century concepts of ‘genius’.
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NAUMENKO, TATIANA I., and ANASTASIA A. MOLOZYA. "NAMELESS STAR: EDISON DENISOV’S MUSIC IN THE DISCOURSES OF AN UNORDINARY STORY." ART AND SCIENCE OF TELEVISION 17, no. 2 (2021): 121–47. http://dx.doi.org/10.30628/1994-9529-2021-17.2-121-147.
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The article addresses the 1978 film Nameless Star (directed by Mikhail Kozakov, music by Edison Denisov) as one of the few examples of on-screen art in which music not only supports the story, but comes to the fore, becoming one of its characters. Naturally enough, in this article, Nameless Star is considered through the lens of its musical concept. The focus is on some of the composer’s individual features that characterize his film music. Among the main ones is Denisov’s fundamental idea about integrating music into a single canvas of a film work, which directly affects its figurative and stylistic characteristics and poetics in general. In this vein, the author analyzes various interpretations of the plot (or, rather, plotlines—the encounters of the main characters, the discovery of a new star, etc.), which have significant divergences in the texts of different authors and direct participants in the filming process; the main semantic points highlighted in the film by keywords (“station”, “diesel-electric locomotive”, etc.); and, finally, the film’s sound and musical design shaping a single line of storytelling. The special role of sound elements (train noise, station bell, etc.) accompanying the narration and endowing it with special thoroughness and authenticity is revealed. It is noted that the dramatic center of the film is an impromptu performance of the Symphony composed by one of the main characters—Mr. Udrea, music teacher. The significance of this artwork in the context of the narration is extremely high: decisive plot turns are associated with the Symphony; it combines intonations and leitmotifs that determine the overall emotional tone of the film. Edison Denisov manages to reproduce Udrea’s intention to the finest detail, creating a nuanced intonation-thematic profile of the Symphony, thanks to, among other things, skillful timbre-rhythmic differentiation. Over and above, he structures musical drama in such a way that during performance of the Symphony, the semantic dominants of the film, embodied in the system of its main sound images, get actualized (theme of the city, Mona’s theme, etc.). In a sense, the music here goes beyond being a mere soundtrack: it becomes an integral part of the plot, penetrating into the words of the heroes (recurring mentioning of the English horn or the story about the structure of the Symphony). Largely thanks to the music, which brings new implications to the film, the romantic comedy appears as a complex, multiplanar work, revealing an unordinary facet in the creative gift of one of the most convinced avant-garde composers of the 20th century.
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Kafel, Małgorzata. "Jazz jako model twórczości literackiej. „Jazzowa teoria literatury” Julio Cortázara (Gra w klasy)." Przestrzenie Teorii, no. 29 (January 31, 2019): 127–51. http://dx.doi.org/10.14746/pt.2018.29.4.
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The article is an attempt at analysing the role of the references to jazz music in the Argentinian writer’s most famous novel, which chapters 10–18 provide an interesting example of the use of this kind of music as a means of a whole range of extraliterary meanings. In the article Hopscotch is treated both as a Cortázar’s artistic manifesto and as an example of a work which fulfils its assumptions in the most complete manner. Musical elements such as improvisation and swing shape the novel in its various aspects, from narration to structure, reflecting a surrealism-inspired need to create literature that transcends traditional ontological frameworks. Jazz is also an illustration of aspirations to independence in artistic and social fields, as well as a means of conveying philosophical ideas and reaching the subconscious.
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Kotin, Michaił L. "Esthetical heteronomy as creation principle of a fictional narrative: on the esthetical function of intertextuality." Przegląd Wschodnioeuropejski 12, no. 1 (September 24, 2021): 381–97. http://dx.doi.org/10.31648/pw.6483.
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The relations between the “main” narrative parts of a belletristic text and its (cross)references to other works of literature and/or music, painting etc. play an important part in the structure and functioning of a literary work. The phenomenon of intertextuality belongs at present to the favourite subjects of the research of texts, among others, of fictional texts. However, some relevant functions of implementation of external esthetical works, both literary texts and other art forms, into a fictional narration have not been investigated yet. This paper presents an analyses of two works of narrative fiction written by Tolstoy and T. Mann, with a special attention to the esthetical function of intertextuality by implementation of cross-references to the works of the composer Beethoven (in the case of Th. Mann also of the poet Goethe). The claim is that intertextuality in the esthetical sphere induces a double esthetical function and determines the phenomenon which I will call “esthetical heteronomy”. Its main feature is a very specific influence of external esthetical sources on the internal esthetical values of the primary text.
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Fauteux, Brian. "When the dial goes Dylan: ‘premium’ radio, hybrid authenticity and Theme Time Radio Hour." Popular Music 39, no. 3-4 (December 2020): 652–68. http://dx.doi.org/10.1017/s0261143020000562.
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AbstractThis article explores the construction of hybrid authenticity by Bob Dylan's Theme Time Radio Hour, an XM Radio programme that aired between 2006 and 2009. Dylan's foray into radio presents compelling questions about the role of his star image in advancing a corporate strategy of premium radio that requires subscription access. Through narration and curation, a performed freeform radio format and fragments of radio history, Dylan's celebrity, voice and status as a vehicle for understanding the ‘American song tradition’ are solidified within the context of subscription satellite radio. In advance of the dominance of subscription streaming listening that companies like Spotify are now known for, Dylan's radio programme and recorded music of this period contribute to XM Radio's efforts to distinguish the satellite service from ‘traditional’ commercial format radio and to entice music listeners to become subscribers.
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Carter, Tim. "Beyond Drama: Monteverdi, Marino, and the Sixth Book of Madrigals (1614)." Journal of the American Musicological Society 69, no. 1 (2016): 1–46. http://dx.doi.org/10.1525/jams.2016.69.1.1.
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Monteverdi's Il sesto libro de madrigali a cinque voci (1614) is often viewed as an outlier in his secular output. His Fourth and Fifth Books (1603, 1605) were firmly embroiled in the controversy with Artusi over the seconda pratica, while his Seventh (1619) sees him shifting style in favor of the new trends that were starting to dominate music in early seventeenth-century Italy: the Sixth Book falls between the cracks. But it also suffers—in modern eyes, at least—for the fact that it reflects the composer's first encounters with the poetry of Giambattista Marino, marking what many see as the start of a fundamental reorientation, if not downward spiral, in his secular vocal music. The problems are exposed by one of the Marino settings in the Sixth Book, “Batto, qui pianse Ergasto: ecco la riva,” in which an unnamed speaker tells Batto how Ergasto has been abandoned by Clori. The text has often been misunderstood. Uncovering the sources for the story—and the literary identities of Batto, Ergasto, and Clori—forces a new reading of the poetry and more particularly of Monteverdi's music. It also answers some profound questions in terms of how best to address issues of narration and representation, and of diegesis and mimesis, in this complex repertory.
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Bobick, Aaron F., Stephen S. Intille, James W. Davis, Freedom Baird, Claudio S. Pinhanez, Lee W. Campbell, Yuri A. Ivanov, Arjan Schütte, and Andrew Wilson. "The KidsRoom: A Perceptually-Based Interactive and Immersive Story Environment." Presence: Teleoperators and Virtual Environments 8, no. 4 (August 1999): 369–93. http://dx.doi.org/10.1162/105474699566297.
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The KidsRoom is a perceptually-based, interactive, narrative playspace for children. Images, music, narration, light, and sound effects are used to transform a normal child's bedroom into a fantasy land where children are guided through a reactive adventure story. The fully automated system was designed with the following goals: (1) to keep the focus of user action and interaction in the physical and not virtual space; (2) to permit multiple, collaborating people to simultaneously engage in an interactive experience combining both real and virtual objects; (3) to use computer-vision algorithms to identify activity in the space without requiring the participants to wear any special clothing or devices; (4) to use narrative to constrain the perceptual recognition, and to use perceptual recognition to allow participants to drive the narrative; and (5) to create a truly immersive and interactive room environment. We believe the KidsRoom is the first multi-person, fully-automated, interactive, narrative environment ever constructed using non-encumbering sensors. This paper describes the KidsRoom, the technology that makes it work, and the issues that were raised during the system's development. 1 1 A demonstration of the project, which complements the material presented here and includes videos, images, and sounds from each part of the story is available at .
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Yuliantari, Ans Prawati. "Molas Baju Wara: Hybridity in Manggarai Rap Music." Celt: A Journal of Culture, English Language Teaching & Literature 16, no. 2 (June 21, 2017): 201. http://dx.doi.org/10.24167/celt.v16i2.769.
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Rap music which has been popular since 2007 in Manggarai region, East Nusa Tenggara, Indonesia, gave rise to rap hybrid phenomenon. The mixture between American rap music formats and local elements of Manggarai attracted the attention of young people in the region. One of the local songs that feature hybridity in rap Manggarai is "Molas Baju Wara" created by Lipooz, one of the pioneers of rap in Ruteng, the capital city of Manggarai district.
To discuss this phenomenon, the concept of hybridity in cultural territory proposed by James Lull is adopted. This concept is used particularly to analyze the forms of hybridity reflected in " Molas Baju Wara" and the ways they are used in showing the social and cultural conditions of Manggarai. "Molas Baju Wara" was selected as the object of study because the song is clearly showing the characteristics of hybridity in music.
The study shows that hybridity could be perceived in Manggarai rap music specifically in the use of local musical instruments like drums, cajon, and tambourine as a substitute for percussive sounds of drums, boombox, or turn-table which are commonly used by rap musicians in their home country, the U.S.A. In addition, there are elements of local sound such as the sound of rain that represents Ruteng as the rain city. Hybridity characteristics can also be found in the use of Manggarai vernacular in the whole lyrics as well as the narration of local themes and certain sites that represent Ruteng.
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LEVINSON, JERROLD. "George Wilson, Narration in Light: Studies in Cinematic Point of View." Journal of Aesthetics and Art Criticism 47, no. 3 (June 1, 1989): 290–92. http://dx.doi.org/10.1111/1540_6245.jaac47.3.0290.
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Munawaroh, Febria Yatimatul, Riyanto Riyanto, and Andi Warnaen. "PENGARUH DESAIN PESAN VIDEO INSTRUKSIONAL TERHADAP PERSEPSI PETANI TENTANG TRICHOKOMPOS." Jurnal Komunikasi 13, no. 1 (April 29, 2019): 27–40. http://dx.doi.org/10.21107/ilkom.v13i1.5214.
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ABSTRACTThis research was conducted in District of Babadan Regency of Ponorogo East Java Province,to 62 chilli farmers and cattle farmers selected by simple random sampling. The purpose of thisresearch is to know the influence of video usage and video message packaging elements to farmerperception about Trichokompos production and usage. The research design is One-Shot CaseStudy, independent variable used is narration, material, picture, music, time, and text, while thedependent variable is farmer perception on making and using Trichokompos. Information gatheringon this is obtained through a structured questionnaire. Influence of video packaging element wasanalyzed by multiple regression statistic test, while farmer perception toward Trichokompos wasanalyzed using class interval model. The results showed that the perception of farmers about themaking and use of Trichokompos influenced by independent variables of 52.1%, and the influenceof instructional video message design partially indicates that the narrative, material, image,music, and text variables significantly influence farmers’ and the use of Trichokompos. However,time variables do not significantly influence farmers’ perceptions. Meanwhile, the perception offarmers about the making and use of Trichokompos shows that as many as 36 respondents or58.1% claimed to receive Trichokompos innovation and perceived that the making and use ofTrichokompos characteristic of innovation in accordance with that required by farmers, have theadvantage, easy to apply by farmers, and materials standard available.
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Goodblatt, Chanita. "In other words: breaking the monologue in Whitman, Williams and Hughes." Language and Literature: International Journal of Stylistics 9, no. 1 (February 2000): 25–41. http://dx.doi.org/10.1177/096394700000900103.
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One important aspect of the ‘Whitman tradition’ in American poetry is its breaking of the monologic hegemony of the lyric voice. Focusing on this aspect necessarily assumes that a poem establishes a ‘fictional context of utterance’, particularly a ‘complex or shifting discourse situation … [which]may involve variations in deictic centre’ (Semino, 1995: 145). The resulting dialogic interplay of voices stands at the very centre of Walt Whitman’s poem ‘Out of the Cradle Endlessly Rocking’, William Carlos Williams’s ‘The Desert Music’ and Langston Hughes’s ‘Cultural Exchange’. The present discussion of dialogic interplay in the lyric text turns naturally to Bakhtin’s concept of heteroglossia. Making use of the cline of speech presentation developed by Leech and Short (1981), Bakhtin’s categories of ‘compositional-stylistic unities’ will be elaborated upon: direct authorial literary-artistic narration; the stylistically individualized speech of characters; and incorporated genres. In ‘Out of the Cradle Endlessly Rocking’ there is an interplay of voices between boy, bird and sea, within a narrative frame related by the adult and child lyric speakers. Within the more general conversation in ‘The Desert Music’ there is an interplay of the lyric speaker’s own social and poetic selves, while in ‘Cultural Exchange’ dialogic interplay is highlighted in the use Hughes makes of the ‘intimidating margins of silence’ (Culler, 1975: 161) which conventionally surround a lyric text, filling them with musical notations that comment on the lyric voice.
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Macenka, S. Р. "Literary Portrait of Fanny HenselMendelssohn (in Peter Härtling’s novel “Dearest Fenchel! The Life of Fanny Hensel‑Mendelssohn in Etudes and Intermezzi”)." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 195–212. http://dx.doi.org/10.34064/khnum2-17.13.
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Background. Numerous research conferences and scholarly papers show increased interest in the creativity of German composer, pianist and singer of the 19th century Fanny Hensel-Mendelssohn. What is particularly noticeable is that her life and creativity are subject of non-scholarly discussion. Writers of biographical works are profoundly interested in the personality of this talented artist, as it gives them material for the discussion of a whole range of issues, in particular those pertaining to the phenomena of female creativity, new concepts of music and history of music with emphasis on its communicative character, correlation between music and gender, establishment of autobiographical character of musical creativity, expression and realization of female creativity under conditions of burgher society. Additional attention is paid to family constellations: Robert and Clara Schumann, brother and sister Felix Mendelssohn Bartholdy and Fanny Hensel-Mendelssohn. A very close relationship between Felix Mendelssohn and Fanny HenselMendelssohn opens a new perspective on the dialogical history of music, i. e. the reconstruction of music pieces based on close personal and critical contact in the Mendelssohn family. All these ideas, which researchers started articulating and discussing only recently, found their artistic expression in the biographical novel “Dear Fenchel! The Life of Fanny Hensel-Mendelssohn in Etudes and Intermezzi” («Liebste Fenchel! Das Leben der Fanny Hensel-Mendelssohn in Etüden und Intermezzi», 2011) by the German writer Peter Härtling (1933–2017). Peter Härtling was attracted to the image of Fanny Hensel primarily because she was working in the Romantic aesthetics, which the writer considered the backbone of his own creativity. While working on the novel about Fanny Hensel, Peter Härtling was constantly reading her diaries and listening to her music as well as the music by her brother Felix Mendelssohn. He discovered “a fascinating composer” who was creating music “bravely” through improvisation, even more so, who improvised her own life in a similar fashion. Her “courageous steps” into “female reality” struck the biography writer. Objectives. The research aims at studying the literary image of Fanny Hensel using the ideas of contemporary music scholars regarding creativity of this still little researched artist. Literary reflection of the life and creativity of musician based on combination of fiction and real life is a productive addition to her creative image. Methods. Since the research is centered on the image of a female composer, in many respects it is following the theoretical premises of music gender studies. The complexity of literary recreation to the personality and creativity of composer in the novel was required the sophisticated narrative situation and structure, that justifies the use of narratology as a method of literary criticism’ analysis. Results. Peter Härtling is a well-known master of biographical novel, who has his own creative concept of re-construction the life story of famous artists. When creating a biographical novel, the writer walks on the verge of reality and fiction, rediscovering and creating. The artistic element serves the purpose of amplification and image-creation; it helps to reveal distinctive properties, characteristics and elements of personality of the biographic novel hero. Gaps in documented materials help the narrator behave freely, give a chance for open associations and subjective vision. When outlining the personality lineaments, the narrator follows chronology of the most important events. Yet, plot development in an autobiographical novel is based on separate motifs. Certain life stages and events of a person’s life are depicted in detail in specific chapters and are shown more accurately within the general plot. By running ahead and looking back, the narrator makes it clear that he is above the narrative situation and arranges the depicted events according to the principle of their development. The narrator plays the role of an accompanying of a person portrayed, helping the writer approach to latter in order to understand him. Peter Härtling defines the key narrative principle in the following way: the narration is centered on the relationship of the talented brother and sister, as well as the motives of a mothering care and self-assertion, which are creating the backdrop for the biography of Fanny Mendelssohn. As such, we can see the ways that helped a talented young woman stand against her competitor-brother and get out of his shadow. The author claims that since childhood, the brother and the sister got along with the help of music and it was music that created a tie between them. The novel pays close attention to their discussions of music and the Sunday concerts, which took place at their house. As it is known from letters, it was very important for Felix Mendelssohn to include music into private communication forms. Researchers emphasizes that it made hard for him to be involved in social processes, in which such form of communication was impossible. Based on what Felix Mendelssohn himself said, it is possible to conclude that he was making an opposition between private musical communication as “the world of music” and social music life “as the world of musicians”. Fanny Hensel was not the embodiment of “detached musical practice” of autonomous art for him; on contrary, her creativity was directly linked to real life. Inside the bourgeois home and amid “private circulation of texts”, Fanny Hensel’s music was directly connected to communication, holidays and family rituals, in which the roles of music performer and music listener were “not cemented”, presupposing active inclusion of “amateurs” into music. Private musical practice meant the successful musical communication, the direct communication in music, which was not possible in anonymous publicness. Composer individuality had a chance of growing without being stripped of meaning and understanding. Inside the burgher house and within her immediate circle, Fanny Hensel was the symbol of “illusion of non-detached music”. Peter Härtling attests to autobiographical character of Fanny Hensel’s musical writing. Conclusions. Peter Härtling’s novel shows a cultural change, which stipulated an extended understanding of music as a dynamic process of human activity in a specific, historically varied cultural field. In this respect, Fanny Hensel’s literary portrait touches upon important aspects of female music creativity, actualizing its achievements in contemporary cultural space. Approaching the talented artist in literature is a special combination of art and life, fictitious and real, past and present.