Academic literature on the topic 'Musica moderna (Firm)'
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Journal articles on the topic "Musica moderna (Firm)"
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Yunyk, Tetiana, and Mykola Tsarev. "Soundtrack in Modern Cinema." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (June 30, 2021): 67–77. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235086.
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The purpose of the research is to analyze popular examples of modern cinema music to determine the features of its interaction with various elements of screen text, taking into account the applied nature and applying various relevant approaches to the study of soundtracks. The research methodology consists in the application of a set of methods for theoretical analysis of film music, their interaction with internal and external factors of influence on the formation of the viewer’s image-emotional sphere in conditions of purposeful perception of the storyline of modern cinema. The scientific novelty lies in the fact that for the first time the peculiarities of the music functioning in modern cinema were analyzed, the main trends in the development of film music in the socio-cultural conditions of our time were revealed, and film music from the perspective of the viewer as a “non-ideal” evaluator of soundtracks in modern cinema was also considered. Conclusions. The article, using various methodological approaches, has proved that film music in the framework of interaction with screen text manifests itself as a significant tool, expanding the artistic space of the film. Film music can go beyond direct acoustic information, reflecting the narrative and conceptual components of the work of art as a whole. A practical example of the manifestation of modern film music is the use of timbral colours as an instrument for revealing the context of events, time, and the image of a hero; leitmotif; experiments with the technical side of sound through the expansion of the imaginary space of the screen. The main trends in the development of film music in the socio-cultural conditions of our time are due to the release of soundtracks beyond the boundaries of a practical film instrument. The modern soundtrack occupies a significant part of the cultural space of music and culture in general. This position is facilitated by the composer’s conceptual approach, the style integrity of the work and the relative independence of the soundtrack in the general cultural space. The rating of soundtracks is given by the audience and depends on their aesthetic preferences and the level of musical “experience”. Soundtracks must meet the requirements of modern cinema and common cultural space, which contributes to the success of the film.
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Kallioniemi, Kari. "Toposkartta, kliseekokoelma ja moderni panoraama." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 32, no. 2 (July 1, 2019): 27–39. http://dx.doi.org/10.23994/lk.83448.
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Artikkelissa tarkastellaan suomalaisista musiikkitähdistä viime vuosina tehtyjä elämäkertaelokuvia ja niiden luonnetta mediahistorian kontekstissa. Millainen yhteys 1800-luvun mediakulttuurin todellisuudella ja sen topoksilla on musiikkitähdistä kertoviin melodramaattisiin elämäkertaelokuviin? Historiallisen ja vertailevan musiikkielokuvien lähiluvun kautta artikkeli pohtii kysymystä siitä, millä tavoin nämä elokuvat ovat kuvanneet musiikkitähtien elämää ja taidetta valkokankaalla. Käsittelemissäni suomalaiselokuvissa topokset, kliseet ja muut banaalin kansallisuuden merkit ovat osa digitaalisen kulttuurin kierrätystä, niiden avulla voidaan rakentaa emotionaalinen silta digitaalisen maailman ulkopuolella olevaan kansalliseen materiaaliseen todellisuuteen.Varhaisen eurooppalaisen kulttuuriperinnön topokset löysivät paikkansa 1800-luvun media- ja massakulttuurin panoraamoissa ja varhaisessa elokuvassa. Erityisesti Timo Koivusalon kansallisista musiikkitähdistä kertovat elokuvat ovat tietynlainen reaktionäärinen osa digitaalisen aikakauden mediakulttuurista murrosta. Elokuvien edustamat kliseet, topokset ja panoraamakerrontaan viittaava rakenne eivät niinkään pyri olemaan osa elokuvataidetta, vaan viittaavat elokuvan muodon avulla enemmän nykypäivän kulttuuriseen nationalismiin, joka hakee elinvoimansa kansallisista myyteistä, suurmiehistä, kansallisen historian käännekohdista, traditioista ja rituaaleista, maisemista, esineistä ja musiikkiesityksistä.Topos map, cliché collection, and modern panorama: The national music star biopic in media culture continuumThe article examines recent Finnish music star biopics and their characteristics in the context of media history. I apply historical and comparative close reading in analyzing the ways in which earlier films have represented the lives and art of great music stars. Melodramatic biographical films were in many ways successors to 19th century media culture as carriers of European cultural heritage in depicting the lives and art of musical heroes. The Finnish films discussed in this article use topoi and clichés which represent banal nationalism.The 21st century Finnish national musical hero biopics, and especially the films by Timo Koivusalo, can be seen as a kind of reactionary response to the digital disruption of media culture. The films’ clichés, topoi, and panoramic style of narration are not used to create film art as such. Instead, film form is applied to flag today’s cultural nationalism, which uses national myths, great men, national historical turning points, traditions and rituals, landscapes, artifacts, and music to gain vitality. The films construct an emotional bridge to a nationalistic, materialistic past which exists outside the digital world.
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Roe, Keith, and Monica Löfgren. "Music video use and educational achievement: a Swedish study." Popular Music 7, no. 3 (October 1988): 303–14. http://dx.doi.org/10.1017/s0261143000002968.
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Almost since their inception film and television have employed music as background accompaniment. Despite this obvious fact, the significance of such musical accompaniment has been underestimated by most researchers (see Tagg 1979). The contemporary conjunction of video technology, communication satellites and cable-TV has created a media environment in which television featuring music videos has thrived, and in which media researchers are no longer able to ignore the synchronisation of aural and visual content. While the idea of synchronising musical and visual presentation is itself not new (see Aufderheide 1986), its realisation in the modern music video presents those seeking to describe and explain media behaviour with a new set of problems and tasks.
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Cuenca, Esther Liberman. "‘The Rains of Castamere’: medievalism, popular culture, and the music of Game of Thrones." Popular Music 39, no. 3-4 (December 2020): 554–67. http://dx.doi.org/10.1017/s0261143020000549.
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AbstractThis article closely examines the song ‘The Rains of Castamere’, from the television series Game of Thrones (2011–19), to draw broader conclusions about how ‘medieval’ music manifests in contemporary popular culture and how music for television has become increasingly important in the last few decades. This article argues for the relevance of ‘The Rains of Castamere’ in popular music from three perspectives: first, as a musical adaptation of the ‘medieval’ world of 'folk’ music popularised in George R.R. Martin's A Song of Ice and Fire novels (1996–); second, as a song embedded in the rich tradition of modern ‘medieval’ music, which itself is a modern reconstruction influenced by cinematic and literary tropes; and lastly, as a track that exemplifies the influence of fan culture in both shaping and responding to popular medievalist music.
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Romashchuk, I. M. ""THE FRONT": MUSIC FOR A FILM AS AN ARCHIVAL DOCUMENT." Arts education and science 1, no. 2 (2020): 88–94. http://dx.doi.org/10.36871/hon.202002011.
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"Music and cinema" is an important and popular topic in modern science. Correlation of visual and sound text, author’s music and various quotations, special artistic means and traditional academic writing — these and many other things provide an opportunity to explore a film as a three-dimensional and multi-component whole, to update the knowledge about the work of those artists who are involved in film production. In this regard, music in cinema is a special and yet still insufficiently explored area. It is well known that the music in a film and the cinematographic score, created by the composer are, most often, two close, but not identical texts. Not all musical numbers created or even recorded can be heard in a film, especially if we are talking about movies of the war years, because their integrity, their safety was not always possible. The film can be preserved, find itself in the vaults of history and not contain all the musical material, as happened to one of the most notable wartime films directed by G. N. and S. D. Vasilyev "The Front" (1943) with music by G. N. Popov (1904–1972). Based on the widely known play by A. E. Korneychuk, this film immediately attracted attention by its acute problem setting of front command in the first years of the war. The play, which won the Stalin Prize of the first degree, was staged in many theaters of the country and was a huge success, as was the film "The Front", one of the main roles in which B. Babochkin played. The film, as well as the play, was included in the Historical fund of works of national art. Based on archival materials, the author analyzes the preserved musical notes for the film "The Front" in the context of the play by A. Korneychuk and the script for the film, created by the playwright together with the directors. As the research has shown, the film "The Front" with the music by G. N. Popov is an important part of the art of the wartime, when, according to the composer, all forces in the creative field were given to "the national cause — the fight against the enemy" [2, 134].
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Devyatova, Olga. "DIALOGUE BETWEEN ELITE AND MASS GENRES IN THE MUSICAL WORK OF ALEXEI RYBNIKOV." Herald of Culturology, no. 3 (2022): 209–29. http://dx.doi.org/10.31249/hoc/2022.03.12.
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The article is devoted to the actual problem of the dialogue between elite and mass musical cultures, which is studied on the example of Alexei Rybnikov's work. Culturologically the most significant works of the modern composer of classical (elitist) and mass genres (film music, rock music, etc.) are analyzed, in which the techniques and methods of their interaction and dialogue are revealed. The conclusion is made about the free intercultural genre synthesis, which led to high, bright and original artistic results.
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Voskoboinikov, Y. "A pianist and his musical instrument (on the example of Alexandre Tharaud’s works)." Culture of Ukraine, no. 72 (June 23, 2021): 76–84. http://dx.doi.org/10.31516/2410-5325.072.11.
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The relevance. The modern media space is full of musical experience of different cultures, which is embodied by musical instruments. Each of them with its uniqueness occupies the same important place on the stage as a composer, a piece of work and a performer. First, only by their appearance and name, and then by timbre, volume, range, musical instruments (solo or in an ensemble or orchestra) objectify the sound space, set the parameters of artistic communication. A musical instrument as an artifact exists in musical activity not as a certain thing, even exceptionally valuable, but, first of all, as a “mediator of use” (Voronin A. Myth of technology. Moscow: Nauka, 2004. P. 65). It is the process of its use that needs to be understood not only in broad historical and cultural contexts, but also in the scale of creative activity of one performer.
The aim of the article is to try to use the example of the famous pianist Alexandre Tharaud (1968) to consider the process of understanding the “horizons” of his creative world through the selection and development of certain musical instruments, including pianos of modern production. Such a problematic prospect includes: on the one hand, the purely economic relationship between the musician and world brands and requires a definition of the artist-ambassador at the music market, on the other — highlights the performance search for reliable “mediators” for their own version of the music, new opportunities for dialogue with the historical past.
The methodology. It is based on the comparative method, the application of the apparatus of organology in historical retrospect, as well as on the methodological approaches used by E. Nazaikinsky and A. Voronin.
The results. The problem of the relationship between the piano firm and the performer was raised in the historical context. On the example of Alexandre Tharaud’s discography the modern mechanisms of the relationship between the piano firm and the performer were revealed.
The topicality. It is the first time Alexandre Tharaud’s experience in media representation of piano products is summarized. It is the first time the piano works and performance in terms of instrumental resources involved in the Alexandre’s performance was analyzed.
The practical significance. The material can be used in the educational process, as well as by professionals who are interested in this prospect for further study of the performance issue.
The conclusions. Nowadays, pianists master a significant number of musical instruments. Guided by individual sound perceptions, they choose their priority brand. A professional performer is able to adjust the musical concept of the work in relation to the existing piano during the game. The performer adapts a piece of music to the instrument through a complex of feelings such as hearing, touch, sight, smell, and, emphasized by Alexandre Tharaud, the feeling of pain which is familiar to all performers. Alexandre Tharaud in his own music albums, represented not only the original performance versions of classical music, but also each time opened a new refraction of the sound spectrum of a particular piano company, through the original artistic and sound representation of each of the works. In the modern media space, Alexandre Tharaud has created a treasure trove of sound spectra of Steinway and Yamaha pianos, which combine such timbre capabilities that can meet the artistic needs of almost every artist.
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AIZENSHTADT, SERGEI A. "SOUTH KOREAN TV SERIES IN THE SERVICE OF MUSIC EDUCATION." Art and Science of Television 16, no. 3 (2020): 133–56. http://dx.doi.org/10.30628/1994-9529-2020-16.3-133-156.
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In this article we study forms and methods used to popularize western classical music in a South Korean TV series. The main subject of analysis is the TV series Beethoven Virus (2008) devoted to a symphony orchestra in a fictional South Korean city. The main purpose of this TV series is the promotion of classical music, and the author of the article comes to the conclusion that its popularity among Korean audience is explained by its engaging, convincing artistic methods with respect to national cultural specificities, which were used to show the working environment of professional musicians. The series reveals real problems of modern Korean musical culture: “crisis of overproduction” of academic musicians; discrimination of graduates of South Korean musical educational institutions; prejudice that classical music is only for the rich. The author emphasizes that immersion into the atmosphere of professional musical life allows the viewers to apprehend the educational value of the TV series more clearly. Beethoven Virus demonstrates traditional Korean attitude towards European classical music determined by the Confucian roots; and at the same time, it depicts changes in the modern culture conditioned by gradual departure from traditional values. The two main characters — the young and the old conductors — symbolize the old and the new in the Korean musical culture. They interact in a traditional eastern way: the new spirit does not openly conflict with the established convention, but sprouts from it. The author suggests that the music is explained in the film through emotional associations which let the viewers fully perceive the musical idea. The author believes that this method, compared to other ways widespread in the West, corresponds to the nature of the specific sensation of European classical music associated with Confucian cultural roots. An opinion is expressed that methods of music education used in Beethoven Virus were chosen in accordance to the South Korean serial genre traditions: leitmotivs in the soundtrack and gesture clichés are of particular significance here. The author suggests that the South Korean experience of promoting musical classics by means of serial films can be used abroad — given that the differences in mentality and realities of musical life are taken into account.
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Nicholson, Rashna Darius. "“A Christy Minstrel, a Harlequin, or an Ancient Persian”?: Opera, Hindustani Classical Music, and the Origins of the Popular South Asian “Musical”." Theatre Survey 61, no. 3 (July 27, 2020): 331–50. http://dx.doi.org/10.1017/s0040557420000265.
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The story of South Asian colonial modernity and music offers up a multidirectional and polymorphous conceptual terrain featuring, among many agents, Hindustani royalty, touring minstrel and burlesque troupes, Jesuit missionaries and orientalists, and not least, social reformists. Nevertheless, scholarship on the history of Hindustani music consistently traces its development through classicization against the rise of Hindu nationalism while overlooking other palpable clues in the colonial past. This article argues for a substantial reevaluation of colonial South Asian music by positing an alternative and hitherto invisible auditory stimulus in colonial Asia's aural landscape: opera. Janaki Bakhle contends that “as a musical form, opera put down even fewer roots than did orchestral, instrumental Western classical music,” even though she subsequently states that “Western orchestration did become part of modern ceremonial activities, and it moved into film music even as it was played by ersatz marching bands.” Bakhle further argues that Hindustani music underwent processes of sanitization and systematization within a Hindu nation-making project, a view that has been complicated by historians such as Tejaswini Niranjana. Niranjana describes how scholarship that focuses exclusively on the codification or nationalization of Hindustani music through the interpellation of a Hindu public neglects “sedimented forms of musical persistence.” Not dissimilarly, Richard David Williams highlights how the singular emphasis on the movement of Hindustani music reform risks reducing the heterogeneous and complex musicological traditions in the colonial period to the output of a single, monolithic, middle-class “new elite.” Previous scholarship, he argues, concentrates on “one player in a larger ‘economy’ of musical consumption.” Following these calls for more textured perspectives on South Asian musical cultures, I suggest a somewhat heretical thesis: that opera functioned as a common mediating stimulus for both the colonial reinscription of Hindustani music as classical as well as the emergence of popular pan-Asian musical genres such as “Bollywood” music.
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Ryzhinskiy, Aleksander S., and Grigoriy R. Konson. "Alliance of Cinema and Music: the First KINOREX Film Music Festival in the Context of Interaction between Music and Cinema in the Early 21st Century." Art and Science of Television 17, no. 4 (2021): 174–217. http://dx.doi.org/10.30628/1994-9529-2021-17.4-174-217.
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Professor of the Moscow Institute of Physics and Technology Grigoriy R. Konson interviews the rector of the Gnesins Russian Academy of Music, professor Aleksander S. Ryzhinskiy. The interview focuses on how film directors and composers see the role of music in films, with music considered as a twofold phenomenon: film score as such and film scores presented at the First KINOREX Film Music Festival. In the preamble, the interlocutors review current trends in film music. In this vein, they touch upon the psychological concept of the French cinematography, interpretation of the Indian song tradition in endowing films with musicality, Baroque music and modern performance practices applied in the 20th century cinema dramaturgy, the Hollywood way of soundtrack composition as a dominating model in the world cinema, and studies devoted to the works of Alfred Schnittke and Thomas Newman. Based on these examples, the interlocutors come to the conclusion that at the heart of different approaches to the film music composition there must be an organic commonality of views of the film director and the composer. Beyond that, a binding force in the process is the reliance on classical traditions of their artistic interaction: expressing the very essence of a film’s drama through music. The discussion of the First KINOREX Film Music Festival, which was held by the Gnesins Russian Academy of Music in April 2021, naturally fits into this humanistic concept. Analyzing the winning project created by director Nadezhda Shibalova and composer Nikita Yamov, the authors of the interview come to the conclusion that the musical fabric of the screen work reveals the fundamental role of music as an analogue of the film’s ethical idea, which increases the cognitive capacity of the content.
Dissertations / Theses on the topic "Musica moderna (Firm)"
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Ditlevsen, Christoffer Moe, and Martin Björkman Čehovin. "Den dramatiska kraften i filmmusik, Filmmusikens dramatiska vikt i modern media." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1917.
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När och varför tillsätter man musik till en scen i ett filmscenario? Med informationsresurser och teorier från etablerade medieteoretiker såsom Michel Chion, Oliver Sacks samt Johnny Wingstedt söker vi svaret. Genom beprövade analysmetoder bryter vi ner kritikerrosade filmer för att finna hur musiken präglat dem. Analyserna har sedan sammanfattats och jämförts för att kärnan av dem skall kunna identifieras. I diskussionen slår vi fast att det finns många verktyg att tillämpa när man vill styrka expressiviteten eller känslointensiteten, och varför man tillsätter musik till film; Att antingen stärka ett budskap som gestaltas i bild, eller inducera känslan av något som inte går att tolka genom endast visuella medel. Dessa resultat använde vi sedan för att skapa ett ramverk inför produktion av musik och ljud till Emil. (2014) , en modern samt mörkare tolkning av Emil I Lönneberga (1971) med en underton av ett dysfunktionellt familjeförhållande. Nyckelord: Musik, dramaturgi, film, känslor, analys, narrativ When and why is music implemented to a specific scene in a film? With informational resources and theories from established media-abstractionists like Michel Chion, Oliver Sacks and Johnny Wingstedt, we’re on a hunt for the ultimate answer. With well proven analytic methods we break down critically acclaimed movies in search of how music has characterized them. The outcome of the analyses has been put together to identify their common dramatic core. In the discussion we state that there are many tools available when one wishes to accentuate the expressionistic and emotional effects of a piece, and why one would use these pieces for film. The reason being that of wishing to emphasize a message or feeling show in picture, or induce a feeling of something not visible on screen. The results were then used for the framework which we work within when producing sound and music material for Emil. (2014), a modern, darker interpretation of Emil I Lönneberga (1971). Keywords: Music, dramaturgy, film, emotions, analysis, narrativeDetta är en reflektionsdel till en digital medieproduktion.
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Kowalski, Elizabeth. "One Hundred Forty-Six| The score for a music and modern dance theater production about the Triangle Shirtwaist Factory Fire of 1911." Thesis, The University of North Carolina at Greensboro, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1541301.
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One Hundred Forty-Six is a music and dance theater production portraying an artistic memorial to the victims, tragedy, and progress of the historical Triangle Shirtwaist Factory Fire of March 25, 1911. The music, composed by Elizabeth L. Kowalski, was scored for string quartet with added electronics. Images and sounds of textile factory work and the events of the fire and memorial are communicated throughout the music. The score is accompanied here by a written document explaining the work. One Hundred Forty-Six has an approximate duration of 45 minutes. The premiere was held in the UNCG Dance Theater on March 30, 2012, shortly after the 101 st anniversary of the fire.
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Chandler, Yuell "Chuck" E. IV. "OPERA AND THE MODERN CULTURE OF FILM: THE GENESIS OF CINEMOPERA, ITS INTERTEXTUALITY AND EXPANSION OF OPERATIC SOURCE MATERIAL." UKnowledge, 2012. http://uknowledge.uky.edu/music_etds/1.
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The boundaries of opera, as in all art forms, are constantly being re-evaluated. This analysis examines one of the most recent developments in opera-the use of film as source material, and connections to the film world- through analyzing three operas: Austrian composer, Olga Neuwirth’s opera, Lost Highway, Chinese-American composer, Tan Dun’s opera, The First Emperor, and acclaimed American film composer, Rachel Portman’s opera, The Little Prince. Each of these works exemplifies the modern relationship of opera and film in different ways. To classify these newly film-influenced works, the term cinemopera is used in describing operas connected to or influenced by film.
Analytical techniques and historical perspectives, as well as revealing how these three operas are associated with the film world through their composers, source materials, and styles are the tools utilized to establish the characteristics of cinemopera as an operatic subcategory. Also, a definition and discussion of intertextuality in these operas reveals not only their cinematic features, but their ties to common practices in music history. Lost Highway is one of the most intertextual works containing sound effects, electronic music, and drawing heavily upon the David Lynch film of the same name as its source material. The First Emperor is an interesting study in modern ethnomusicology and contains many links to film in its source material as well. The Little Prince has a different kind of intertextuality than the preceding two operas because its source material is a French children’s book. However, since its composer, Rachel Portman, is a very distinguished film composer, it represents many elements of style commonly found in cinemopera.
Finally, opera as a business is changing due to its convergence with film. The visual aspect of opera productions is of increasing importance, as is a singer’s credibility in the role they are portraying. Singers must look their parts much more so now than even two decades ago. As cinemopera is explored herein and its effects on the business are discussed, so are the elements of style which clearly serve to classify an opera as cinemopera.
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Neplokh, Vassili. "Sexscener med filmmusik av kvinnliga kompositörer : En undersökning av filmmusik i sexscener i fyra moderna västerländska filmer, där USA är ett av produktionsländerna." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-21013.
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I detta arbete analyseras filmmusiken, skriven av kvinnliga kompositörer, som spelas i sexscener i fyra moderna spelfilmer där USA är ett av produktionsländerna. Vassili Neplokhs analysmetod består av fem musikaliska parametrar. Författaren sammanställer även forskning som berör ämnet inom bland annat musikpsykologi och utökar en redan fungerande metod med fler parametrar som grundar sig i musikpsykologi. Avslutningsvis jämförs studiens resultat med resultat av en tidigare utförd undersökning av manliga kompositörers filmmusik i sexscener.
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Icleanu, Constantin C. "A CASE FOR EMPATHY: IMMIGRATION IN SPANISH CONTEMPORARY MEDIA, MUSIC, FILM, AND NOVELS." UKnowledge, 2017. http://uknowledge.uky.edu/hisp_etds/33.
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This dissertation analyzes the representations of immigrants from North Africa, Latin America, and Eastern Europe in Spain. As engaged scholarship, it seeks to better the portrayal of immigrants in the mass media through the study of literature, film, and music about immigration spanning from the year 2000 to 2016. Because misconceptions continue to propagate in the media, this dissertation works to counteract anti-immigrant, xenophobic representations as well as balance out overly positive and orientalized portrayal of immigrants with a call to recognize immigrants as human beings who deserve the same respect, dignity, and rights as any other citizen.
Chapter 1 examines and analyzes the background to immigration in Spain by covering demographics, the mass media, and political theories related to immigration. Chapter 2 analyzes Spanish music about immigration through Richard Rorty’s social theory of ‘sentimental education’ as a meaningful way to redescribe marginalized minorities as full persons worthy of rights and dignity. Chapter 3 investigates the representation of immigrants in Spanish filmic shorts and cinema. Lastly, Chapter 4 demonstrates how literary portrayals of immigrants written by undocumented immigrants can give rise to strong characters that avoid victimization and rear empathy in their readers in order to affect a social change that minimizes cruelty.
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Cagle, Natalie Kenra. "Costume Design and Production for City of AngelsBook by Larry Gelbart, Music by Cy Coleman, and Lyrics by David Zippel." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437645350.
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Biotti, Gabriele. "Le cinéma à l'épreuve de l'anachronisme. Contribution à une réflexion sur le visible moderne à travers le film-essai. Les cas de Godard, Marker, Kluge et Wenders." Thesis, Lille 3, 2013. http://www.theses.fr/2013LIL30009/document.
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La thèse analyse la relation entre le cinéma et l'anachronisme. En partant des enjeux de la notion d'anachronisme en termes d'écriture de l'histoire et de discours autour de la mémoire, ce travail se propose de traiter certaines pratiques cinématographiques présentant une relation étroite avec une volonté de réflexion sur les temps et les chronologies. A partir d'une pratique spécifique comme le film-essai, dont on analyse les caractères en sens esthétique, un discours se dégage sur les liens entre le cinéma et le temps, entre la pluralité des formes de l'image et un temps anachronique capable de questionner les formes, les histoires, les lectures, les rapports. Si les Histoire(s) du cinéma (1988-97) de Jean-Luc Godard posent la grande question du sens du cinéma, de sa pluralité dans un réseau dense et complexe, Tokyo-Ga (1983) de Wim Wenders questionne les relations entre un cinéma passé et des formes plus actuelles, entre une mémoire du cinéma et la recherche difficile d'un présent de l'image. Chris Marker, avec Sans soleil (1982) et Level Five (1996) croise le cinéma, les images et leurs transformations aux rapports complexes entre passé, présent et futur, dans un contexte où le temps peut se déployer selon les formes de l'image. Dans certains de ses essais, Alexander Kluge assigne une importance stratégique aux images de tout type, mais aussi aux relations entre les images que nous produisons et notre histoire. Tous les parcours analysés font surgir certaines questions théoriques relatives aux pratiques du regard : toute image est le signe d'un agencement complexe entre l'histoire et notre travail à partir de là, selon une pratique plurielle des imagesThis thesis analyzes the relationship between cinema and anachronism. Starting from anachronism as an important topic in history writing and memory discourses, this work intends to deal with some film practices with a strong will if reflection about time and chronologies. Starting from a specific practice as the essay film, analyzed from an aesthetical point of view, a topic comes out about the links between cinema and times, between a multiplicity of image forms and an anachronic time questioning forms, histories, interpretations, links and relationships. If Jean-Luc Godard's Histoire(s) du cinéma (1988-97) questions the sense of cinema itself, his plurality in a dense, complex network, Wim Wender's Tokyo-Ga (1983) interrogates some links between past cinema and more actual film forms, between a memory of cinema and the difficult search for the image's present, actual time. With Sans soleil (1982) and Level Five (1996), Chris Marker crosses cinema, images and their transformations with the complex links between past, present and future, in a context in which time can be presented according to the images forms. In some of this essays, Alexander Kluge gives strategie importance to images of every sort but also to the relationship between the images we produce and our history. All the analyzed films develop some theoretical questions about gaze's practices : every image is the sign of a complexe relationship between history and our starting from history, in accordance with a plural practice of the image
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Coronado, Guel Luis Edgardo, and Guel Luis Edgardo Coronado. "Dios, Patria y mis Derechos: The Secularization of Patriotism and Popular Legal Culture in Revolutionary Mexico, 1917-1929." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621436.
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Although secularization has early antecedents in Mexico's history, the generation who embodied the Constitutionalist faction of the 1910 Revolution undertook an unprecedented campaign to achieve it. Strong anticlerical provisions proclaimed in the 1917 Constitution were implemented and gradually escalated in intensity by the administrations of Presidents Álvaro Obregón and Plutarco Elias Calles. This ignited an armed uprising known as the Cristero Rebellion that arose in rural Mexico in 1926. Beyond the armed conflict, this dissertation analyzes the cultural effects caused by the implementation of such a legal and institutional agenda that reveal a substantial confrontation in the public sphere between two opposed concepts of society-religious and non-religious. As a result, society became highly polarized while the government pushed its secularization aims to the extreme as never before. New laws intervened more intensely on private rights, transforming people's everyday ideas about religion, nation, law, justice and citizenship. By looking at citizens' experiences with such law enforcement, this work elucidates how the state finally neutralized radical Catholicism by stigmatizing it as non-patriotic in the public sphere. This phenomenon that happened between 1917 and 1929 can be conceptualized as the secularization of patriotism and the transformation of people's notions of the legal system- defined as the legal popular culture- that was central to Mexico's social and cultural Revolution.
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Austin, Travis R. "Laminated PAINT." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5462.
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Though we may not perceive it, we are surrounded by material-in-flux. Inert materials degrade and the events that comprise our natural and social environments causally thread into a duration that unifies us in our incomprehension. Sounds reveal ever-present vibrations of the landscape: expressions of the flexuous ground on which we stand.
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Panzeca, Andrea. "You Don't Have to Be Good." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1979.
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You Don't Have to be Good, is a nonfiction collection of prose, poetry and graphic memoir set in New Orleans, central Florida, and points in between. In this coming-of-age memoir, I recall the abrupt end of my dad's life, the 24 years of my life in which he was alive, and the years after his death—remembering him while living without him in his hometown of New Orleans. Along the way there are meditations on language, race, gender, dreams, addiction, and ecology. My family and I encounter Hurricane Katrina and Mardi Gras, and at least one shuttle launch. These are the stories I find myself telling at parties, and also those I've never voiced until now.
Books on the topic "Musica moderna (Firm)"
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Langkjær, Birger. Filmlyd & filmmusik: Fra klassisk til moderne film. 2nd ed. København: Museum Tusculanums Forlag, Københavns Universitet, 1997.
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Singing a new tune: The rebirth of the modern film musical, from Evita to De-lovely and beyond. New York: Applause Theatre & Cinema Books, 2005.
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Gall, Johannes Carl, ed. Música moderna para un nuevo cine: Eisler, Adorno y el Film Music Project. Madrid: Akal, 2008.
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Brophy, Philip. 100 Modern Soundtracks (Bfi Screen Guides). London: British Film Institute, 2004.
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1962-, Metzger Christoph, and Akademie der Künste (Berlin, Germany), eds. Conceptualisms: [zeitgenössische Tendenzen in Musik und Film]. Saarbrücken: Pfau, 2003.
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Herzogenrath, Bernd, ed. The Films of Bill Morrison. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789089649966.
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Avant-garde filmmaker Bill Morrison has been making films that combine archival footage and contemporary music for decades, and he has recently begun to receive substantial recognition: he was the subject of a retrospective at the Museum of Modern Art, and his 2002 film Decasia was selected for the National Film Registry by the Library of Congress. This is the first book-length study of Morrison's work, covering the whole of his career. It gathers specialists throughout film studies to explore Morrison's "aesthetics of the archive"-his creative play with archival footage and his focus on the materiality of the medium of film.
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Deutsche Gesellschaft für Psychoanalyse und Musik, ed. Zur Psychoanalyse ästhetischer Prozesse in Musik, Film und Malerei. Giessen: Psychosozial-Verlag, 2015.
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Körper/Denken: Wissen und Geschlecht in Musik, Theater, Film. Wien: Böhlau Verlag, 2016.
Find full textBook chapters on the topic "Musica moderna (Firm)"
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Wierzbicki, James. "The ‘Silent’ Film in Modern Times." In Music and Sound in Silent Film, 198–208. New York : Routledge, 2019. | Series: Routledge music and screen media series: Routledge, 2018. http://dx.doi.org/10.4324/9781315276274-13.
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Marlow, Eugene. "Liu Sola: China’s Musically Eclectic Composer." In Jazz in China, 126–35. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817990.003.0012.
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This chapter presents an interview with composer, author, and vocalist Liu Sola, who has blended the musical traditions of China with jazz, blues, and improvisation. Since the 1980s, Liu Sola has scored many Chinese and international film sound tracks, as well as TV and drama productions. She has composed music for orchestra, ensemble, opera, modern theater, modern dance, and art exhibitions. This chapter presents an interview with composer, author, and vocalist Liu Sola, who has blended the musical traditions of China with jazz, blues, and improvisation. Since the 1980s, Liu Sola has scored many Chinese and international film sound tracks, as well as TV and drama productions. She has composed music for orchestra, ensemble, opera, modern theater, modern dance, and art exhibitions. Her range of musical styles includes classical music, jazz, early music, rock, traditional, and contemporary music. She is the founder of Liu Sola Music Studio, located in the Songzhuang art colony, a Beijing artist district. Liu Sola designed and built a music space for her ensemble to rehearse and record.
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"The modern auteur musical." In The French Film Musical. Bloomsbury Academic, 2020. http://dx.doi.org/10.5040/9781501329791.0022.
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"The transition to the modern musical." In The French Film Musical. Bloomsbury Academic, 2020. http://dx.doi.org/10.5040/9781501329791.0018.
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"The opera film and the modern classical music film." In The French Film Musical. Bloomsbury Academic, 2020. http://dx.doi.org/10.5040/9781501329791.0021.
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Wright, Julie Lobalzo. "“The Same Story Told Over and Over”." In The Oxford Handbook of the Hollywood Musical, 389—C17.N69. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780197503423.013.30.
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Abstract Hollywood, especially in the classical period, produced numerous films about the “star-making process,” including the four versions of A Star Is Born (1937, William A. Wellman; 1954, George Cukor; 1976, Frank Pierson; and 2018, Bradley Cooper) regarded by Camille Paglia as “Hollywood’s canonical myth-saga” that captures “both the glory and cruelty of the modern entertainment industry.” Specifically, these films are concerned with the ambiguity behind the title and what it means “to say a star is ‘born’?” Notably, the last three versions of this saga have been musical films, indicating the genre’s capacity to expose the star-making process and other stardom myths. This chapter examines the relationship between the musical film genre and stardom, especially the manufacture of stardom and the popular myth that stars are born, illustrated in the A Star Is Born films from 1954, 1976, and 2018. The musical, as this chapter will argue, is the ideal genre to demonstrate the manufacture of stardom owing to the genre’s illustration of talent, its self-reflexive nature, and the dual focus of musicals. The films referenced in this chapter bond stardom with the musical, demasking the mechanics behind stardom and the musical while, nonetheless, remythologizing stars and genre. Some scholars have hesitated to refer to the 1954 film as a musical, and there are similar anxieties about the 2018 film. This chapter, however, argues that the ties to the genre are, at times, explicit, especially the centrality of musical performances to these films.
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Bick, Sally. "Copland on Hollywood." In Unsettled Scores, 24–39. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042812.003.0002.
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This chapter provides a critical discussion on Copland’s writings about film music, particularly the lecture he delivered at the Museum of Modern Art (MoMA) but also in his other publications, such as his book What to Listen for in Music and his articles in the popular press. In the MoMA lecture, a reflection of Copland’s initial experiences in Hollywood composing the score for Lewis Milestone’s film Of Mice and Men, he provides a critical assessment of Hollywood’s industrial enterprise and contemporary film composers such as Max Steiner, George Antheil, Ernst Toch, Warner Jansen, and Alfred Newman. Copland’s later writings present a synthesized and theoretic approach to the varied functions of music in film that became influential in subsequent film music scholarship.
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Wilkins, Heidi. "All That Jazz: The Diegetic Soundtrack in Melodrama." In Talkies, Road Movies and Chick Flicks. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474406895.003.0003.
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As modern film audiences, we are well aware of the capacity of music soundtracks to perform a multitude of functions in film. Music, whether diegetic (a part of the world of the film) or non-diegetic (outside of the world of the film), has the capacity to create emotion or humour; to be narrative or symbolic; to create atmosphere or provide information about a setting; and in its various forms, music is integral in creating meaning about film characters. This chapter looks at the use of music in melodramas of the 1940s and the 1950s. Melodrama is a film genre that notoriously makes use of music for its emotional capacity and for its ability to generate meaning about female protagonists in film texts that have been historically labelled as ‘women’s films’ or ‘female weepies’. In this discussion, I am interested in the use of diegetic music in melodrama, the function of which appears more difficult to outline. Diegetic music is also crucial in providing semantic information about characters and in establishing time and place. Yet what links can be drawn between diegetic music and the representation of gender in melodrama?
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Beng, Tan Sooi. "Malay Women Singers of Colonial Malaya." In Vamping the Stage. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824869861.003.0004.
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Popular Malay music developed in Malaya in tandem with socio-political transformations which took place as a result of British colonialism. It was at this time that a new type of local commodified urban popular music known as lagu Melayu (Malay song) emerged to entertain the multiethnic urban audiences from different social and class backgrounds. This new music was shaped by the convergence of the new social conditions, technology such as print, gramophone, radio, film, microphones, cultural forms, and performance sites that emerged. By examining the song styles and texts of 78 rpm recordings of Lagu Melayu, oral interviews with performers, and published texts of the colonial period, this chapter illustrates how the new popular music accorded women performing artists voice and agency to negotiate dominant discourses regarding modern colonial subjectivity and gender. Women singers promoted a type of vernacular modernity that was not defined solely in European terms butwas characterized by continuity, difference, and hybridity. The musical recordings and stories of their lives reveal the complex polyvocal and sometimes contradictory experiences of women performers in colonial Malaya.
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Roust, Colin. "New Beginnings in the Post-War Years." In Georges Auric, 133–56. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190607777.003.0007.
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After World War II, Auric enjoyed a privileged position in the French musical scene, with numerous ballets and scores of incidental music. He was also by this time the leading composer for the French cinema; he remains the only person to have won music prizes at both the Cannes and Venice film festivals. From the 1940s through the 1960s, he composed dozens of films in the French “tradition of quality,” but also for British and American films and for international co-productions. He also was elected to the Administrative Council at SACEM, ultimately serving as President for three decades. In the late 1950s, he was a defendant in Hirshon v. United Artists, a case that clarified two sections of the U.S. Copyright Code, and he was also the principal lobbyist on behalf of the Loi Escarra, the first modern copyright law in France.
Conference papers on the topic "Musica moderna (Firm)"
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Hibbeln, Joseph. "Omega-3 fats as pivotal elements integrating neural, immune and sympathetic nervous systems in aggression, depression and consciousness." In 2022 AOCS Annual Meeting & Expo. American Oil Chemists' Society (AOCS), 2022. http://dx.doi.org/10.21748/ksaz2558.
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Consciousness emerges from the harmonics of neronal networks in a manner analogous to music emerging from symphony orchestras.  Neurons integrate electrochemical signals as long axons fire in pulsing rhythms like instrument strings. Many brain regions communicate in harmonies or dissonance, like orchestra sections. Critically, both neurons and musical instruments depend on their physical composition to stay in tune. For neurons, essential fatty acid compositions determine membrane biophysics of synapses, axons and immune responses, thus dietary fats can either optimize or degrade neuronal harmonics and thus emotional experiences. New experiences cannot be learned without the growth of new synaptic connections and rhythms encoded by Hebbian conditioning.  Inadequate seafood consumption, the primary source of omega-3 fats, is associated with 30 and 50-fold increased risks for major depression and homicide deaths in cross- national epidemiology. Multiple randomized controlled trials report large clinical effects of omega-3 fats in reducing aggression and depression in meta-analyses. Harmful aggressive and depressive behaviors in part result from excessive immunological, stress axis and sympathetic nervous systems responses to provocations. Omega-3 fats downregulate, or detune, these excessive immune and sympathetic nervous system responses to stresses, also contributing to cardiovascular disease protection. Modern diets have excessive omega-6 fats. Restoration of neurons, immune and neuroendocrine systems with omega-3 fats is analogous to restoring musical instruments to play beautiful and healthy emotional music once again. This presentation will include experiences reducing aggression and depression in clinical practice which is the critical test to see if epidemiological, mechanistic and randomized control trial data can actually be translated into practical real-world applications.
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Martelli, Alessandro, Giordano-Bruno Arato, and Enrico Bellani. "Advanced Tested Technology for Earthquakes and the Shapes of Memory: A Short Film and a Motion-Picture Developed in the Framework of the MUSICA Project." In ASME 2002 Pressure Vessels and Piping Conference. ASMEDC, 2002. http://dx.doi.org/10.1115/pvp2002-1435.
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This paper provides updated information, with respect to that already given at the 2001 ASME-PVP Conference, on the Project MUSICA (Multimedia for the Development of Innovative Systems for Anti-Seismic Constructions). This project was jointly undertaken by the Italian Agency for New Technology, Energy and the Environment (ENEA) and other partners associated in the Italian Working Group on Seismic Isolation (GLIS) in May 2000, to contribute to information and training on the modern passive control techniques of seismic vibrations through a better, modern use of media. It consists in the development of a series of films of various durations on manufacturing, R&D and applications of the aforesaid techniques, namely seismic isolation, passive energy dissipation, hydraulic coupling by means of shock transmitters, systems formed by shape memory alloy devices, “active sewing” method for masonry buildings, etc. Films are addressed to designers, representatives of the Institutions and the ordinary public, as well. Most of them have already been completed. The short film “Advanced Tested Technology for Earthquakes” (that developed for ENEA within the MUSICA Project) will be shown at the Symposium, together with (if possible) the motion-picture “The Shapes of Memory”.
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Kolb, Fabian. "Tanztheater und filmische Ästhetik. Cineastische Einflüsse und Gestaltungsweisen in den Kompositionen für die Ballets Suédois 1920–1925." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.60.
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The central role that avant-garde music and dance theatre played in the interplay and synthesis of the arts and media in the 1920s, particularly in Paris, is well known. However, the creative potential of ballet has hardly been recognized in its manifold relationships with film and cinematic-inspired expression. The extent to which especially ballet music interacted with the latest cinematographic principles and techniques and referred to cinematic aesthetics in a variety of ways can instructively be seen regarding the productions of the Ballets Suédois. This is discussed in this article with an exemplary look at Les Mariés de la Tour Eiffel (1921), Within the Quota (1923), Skating Rink (1922) and Relâche (1924). By that it becomes clear that the transmedia inclusion of cinematographic ideas not only inspired the vocabulary of avant-garde dance and modern choreography, but was also distinctively reflected in the conception and composition of film-affected music.
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Şəfəq Səmədova, Şəfəq Səmədova. "AZƏRBAYCAN SƏSSIZ KINOSUNDA EKRANLAŞDIRILMIŞ ILK DRAMATIK ƏSƏRLƏR." In THE FIRST INTERNATIONAL SCIENTIFIC – PRACTICAL VIRTUAL CONFERENCE IN MODERN & SOCIAL SCIENCES: NEW DIMENSIONS, APPROACHES AND CHALLENGES. IRETC, 2022. http://dx.doi.org/10.36962/mssndac-01-23-02.
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Kinoda üç növ səs var: nitq (səslənən sözlər); küy və musiqi. Kinoda səs istifadə edilmədən öncə səssiz kino böyük uğur qazanmışdı. Səssiz filmlər çəkməyə vərdiş edən rejissorlar kinoya səs gəldikdən sonra nitqdən, sözdən istifadə etməkdən çəkinirdilər. Onlar düşünürdülər ki, səs kinoya gəldikdən sonra kino lent üzərinə yazılmış teatra çevriləcək. Onlar həm də inanırdılar ki, səssiz təsvirlər, jest və mimikalar hər hansı bir fikri çatdırmaqda daha güclü təsirə malikdir. Bu səbəbdən kinoda səsin olması, burada fikirlərin nitq halında izah edilməsi kinonun əsas özəlliyinin itməsinə səbəb ola bilərdi. Amma bütün bunlar üçün narahat olan rejissorlar nəzərə almıdılar ki, insanın fikirlərini izah etməkdə yardımcı olan mürəkkəb fikirləri səssiz şəkildə vermək mümkün deyil. Azərbaycan kinosuna nəzər salsaq, görərik ki, Üzeyir Hacıbəylinin “Arşın mal alan” operettası əsasında eyniadlı səssiz film çəkilib. Filmdə musiqi, ariya ifaçıları sussa da, film orijinal əsərin fabulasını təqdim edə bildi. Səssiz filmin dramaturji sturukturu tez sonladığı üçün ssenaridə təsvir vahid süjet xətti üzərindən davam edirdi. Bu zaman mətn də kadrarxası olaraq təqdim edilməli idi. Konkret dramaturji sturukturları olan ədəbi əsərlə ekranlaşdırılanda birbaşa ədəbi əsərin özü ssenarini əvəzləyir. Ədəbi əsərlərin mətnindən həm vizual süjet xətti yaratmaq, həm də kadrarxası yazılardan istifadə edilirdi. Azərbaycan kinematoqrafiyasında səssiz filmlərin sonuncusu “İsmət” filmidir. Rejissor M.Mikayılov əsəri 1930-cu illərdə ekranlaşdırıb. Film həmin illərdə Azərbaycan qadınının həyat yolunu yüksək ruhda, həyəcanla, həm də fərəh hissi ilə danışırdı. Ona görə bu film təkcə sənət əsəri kimi yox, həm də bir həyati fakt kimi yüksək önəm daşıyır. Azərbaycan kinosunda elmi-kütləvi, bədii və digər növ və janrlarda olan filmlərin səssiz şəkildə ekranlaşdırılması 1936-cı ilədək reallaşırdı. Kinoda aktyorların susması, səssiz mühit və normal ünsiyyətin qarşısına çəkilən sədd, jestləri, mimikanın inkişafına, hadisənin obrazlı şəkildə ifadə olunmasına geniş imkan yaratdı. Azərbaycan kinematoqrafiyasının səssiz dövrünün kinolarından biri də C.Cabbarlının “Sevil” pyesi əsasında çəkilən filmdir. Ssenaridə cəmiyyəti təmsil edən, onun qanuna uyğunluqlarının daşıyıcısı olan və bunu tələbə edən, hər kəsi müstəntiq kimi dindirən Gülüş obrazı ön plandadır. Elə bütün bunların təsviri zamanı kadrarxası mətndəki yazılardan geniş istifadə olunur. İlk dəfə səssiz halda, 1929-cu ildə lentə alınan filmdə bir o qədər də diqqət çəkməyən səhnələr pyesdəki kimi ilkin hissədə saxlanılıb. İyirmi üç bədii oyun və yüzdən çox sənədli, elmi kütləvi kino ssenarinin reallaşdığı kinodramaturgiyanın səssiz dövrü 1936-cı ildə başa çatdı. Kinodramaturgiyanın inkişafında əhəmiyyətli rolu olan səssizlik canlı ünsiyyətə əngəl olsa da, jest və mimianın hadisələrin mahiyyətinə birbaşa xidmətinə imkan yaratdı. İstisna hallarda, bir sıra kinoteatrlarda canlı musiqinin müşayiətindən istifadə olunsa da, daha çox sakit halda davam edən bu mərhələdə qaranlıq zalda əyləşən tamaşaçı filmdə baş verən hadisələr ilə tək başına qalırdı. Bu qarşıdurma barədə fikirlərini ifadə edən M.Baxtin deyirdi ki, “Sakitlikdə demək olar heçnə səslənmir, sükunətdə isə danışan yoxdur. Ancaq insanlar arasında da sükut mümkündür. Amma burda sükut və sakitlik mühüm şərtdir”. İ.Musabəyovun “Neft və milyonlar səltənətində” povesti, Üzeyir Hacıbəylinin “Arşın mal alan” operettası, Mirzə Fətəli Axundovun “Sərgüzəşti mərdi-xəsis” (“Hacı Qara”) komediyası, Cəfər Cabbarlının “Sevil” və “Almaz” pyesləri ekranlaşdırılaraq kinodramaturgiyamızın səssiz dövrünü yaratdı. Elə bu kinodramaturgiya da incəsənətin plastik imkanlarında məharətlə istifadə edərək həyat hadisələrinin toplusunu obrazlı şəkildə ifadə edə bildi. Bir-biri ilə əlaqəsi olmayan süjet xəttinin fabula hesabına mövcud olması isə səssiz kino dönəminin özünəməxsus qaydalarla formalaşmasına şərait yaratdı. Açar sözlər: Kinoda üç növ səs, səssiz kino.
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Мир-Багирзаде, Ф. А. "Oriental symbolism of the ballet "Seven beauties" based on the poem by Nizami Ganjavi." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.91.54.086.
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автор исследует творческие интерпретации произведения поэта-гуманиста Низами Гянджеви (XII в.) из цикла «Хамсе» «Семь красавиц». Поэт, был подлинным эрудитом, знатоком не только коранических текстов, истории, античной и мусульманской философии, но и астрономии. Данная статья – попытка проследить ориентальную символику образов Гянджеви в одной из творческих интерпретаций поэмы «Семь красавиц», через призму хореографического и сценографического искусства. Метод исследования – семиотический анализ, объект исследования – балет «Семь красавиц», объединивший достижения современной европейской хореографии и средневековую восточную поэзию с присущей ей образностью, поставленный на музыку азербайджанского композитора Кары Караева. Композитор К. Караев активно использовал самобытные музыкальные традиции Азербайджана (музыкальные гармонии, мелодика ашугов и элементы народных азербайджанских ладов), сочетая их с европейскими мелодиями и ритмами. Анализируя фильм-балет «Семь красавиц» (1982, режиссер Федор Слидовкер) и новую постановку театра оперы и балета им. М.Ф. Ахундова (2011), автор прослеживает трансформацию либретто и предлагает собственное прочтение символики метафоричного произведения классика Низами Гянджеви. Поиски истины, красоты и справедливости всегда были уделом мыслящего человека. Восточные поэты воспевали этот поиск, этот долгий и трудный путь к истине, идеальному миру. Придворные интриги, роскошь дворца и повседневная жизнь простого народа, благородство, коварство и любовь переплелись в этой метафоричной восточной притче, которая легла в основу нескольких интерпретаций балета «Семь красавиц». Несмотря на большую степень условности, свойственной этому жанру сценического искусства, фильм-балет характеризуется драматургической многоплановостью, органическим сплетением развивающихся сюжетных линий, динамической взаимосвязью социального и лирико-психологического конфликтов. Трансформация либретто балета «Семь красавиц» свидетельствует о новом, более глубоком прочтении, приближению его к идейно-философской метафоричной концепции оригинальной поэмы Низами Гянджеви, воспетому поэтом вечному поиску истины, любви и справедливости со свойственной ему ориентальной образностью. the author explores creative interpretations of the work of the humanist poet Nizami Ganjavi (XII century) from the cycle "Khamse" – "Seven beauties". The poet was a true polymath, an expert not only in Quranic texts, history, ancient and Muslim philosophy, but also in astronomy. This article is an attempt to trace the Oriental symbolism of Ganjavi's images in one of the creative interpretations of the poem "Seven beauties", through the prism of choreographic and scenographic art. The method of research is semiotic analysis, the object of research is the ballet "Seven beauties", which combines the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of the Azerbaijani composer Gara Garayev. The composer G. Garayev actively used the original musical traditions of Azerbaijan (musical harmonies, melodies of ashugs and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet "Seven beauties" (1982, directed by Fyodor Slidovker) and the new production of the Opera and ballet theater named after M. F. Akhundov (2011), the author traces the transformation of the libretto and offers his own interpretation of the symbolism of the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been the province of the thinking man. Eastern poets sang of this search, this long and difficult path to the truth, the ideal world. Court intrigues, the luxury of the Palace and the daily life of the common people, nobility, guile and love are intertwined in this metaphorical Eastern parable, which formed the basis of several interpretations of the ballet "Seven beauties". Despite the great degree of conventionality inherent in this genre of stage art, the film-ballet is characterized by a dramatic diversity, an organic interweaving of developing storylines, and a dynamic relationship between social and lyrical-psychological conflicts. The transformation of the libretto of the ballet "Seven beauties" indicates a new, deeper reading, approaching it to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, the poet's eternal search for truth, love and justice with its characteristic Oriental imagery.
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Aidə Mütəllimova, Aidə Mütəllimova. "ÜZEYIR ÖMRÜ» BƏDII-SƏNƏDLI FILMINDƏ SƏNƏDLILIK ELEMETLƏRI." In THE FIRST INTERNATIONAL SCIENTIFIC – PRACTICAL VIRTUAL CONFERENCE IN MODERN & SOCIAL SCIENCES: NEW DIMENSIONS, APPROACHES AND CHALLENGES. IRETC, 2022. http://dx.doi.org/10.36962/mssndac-01-15.
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“Üzeyir ömrü” — iki seriyalı bәdii televiziya filmi. Keçmiş SSRİ Mәrkәzi Televiziyasının sifarişi ilә çәkilmişdir. Ssenari muәllifi vә quruluşçu rej. Anar, operator Zaur Mәhәrrәmov, rәssam Rafis İsmayılovdur. Film Hacıbəyovun ömür yolunun müxtәlif mәrhəlәlәrini әhatә edir, elәcә dә, onun әsәrlәrini (“Leyli vә Mәcnun”, “Koroğlu”, “ Әsli vә Kәrәm”, “Arşın mal alan”, “Әr vә arvad”, “0 olmasın, bu olsun”) ekranda canlandırır. Hacıbəyovun uşaqlığını Yalçın Әfәndiyev, yetkin vә yaşlı çağlarını Hüseynağa Atakişiyev ifa edir. Filmdә Hacıbəyovun müasirlәrinin, sәnәt dostlarının — X. Natәvan (Nәcibә Mәlikova), H. Zәrdabi (Әli Zeynalov), Ә. Haqverdiyev (R. Rüstәmzadә), H. Әrәblinski (Mikayıl Kәrimov), H. Sarabski (Mikayıl Mirzә), Q. Pirimov (Ramiz Quliyev), M. Maqomayev (Mәmmәd Mәmmәdov), Z. Hacıbәyov (Yaşar Nuri), Ş. Mәmmәdova (Maya İsgәndәrova), Mәleykә xanım (Hәmidә Ömәrova) vә başqalarının obrazları yaradılmışdır. Tamaşaçılar ekranda H. Sarabskini, Bülbülü, Ş. Mәmmәdovanı, R. Behbudovu, Z. Xanlarovanı, M. Maqomayevi (nәvә) görür vә dinlәyirlәr. Filmә daxil edilmiş Aparıcı surәti (Tofiq Mirzәyev) onu bәdii-sәnәdli araşdırma, tele-esse janrının nümunәsi kimi qiymәtlәndirmәyә imkan verir. Film dәfәlәrlә Rusiya vә Azәrbaycan Televiziyaları ilә nümayiş etdirilmiş, haqqında çoxlu resenziyalar dәrc olunmuşdur. Rejissor yüksək inkişaf etmiş kinotexnikadan bacarıqla bəhrələnib. 1945-ci ildə lentə alınan filmin ilk variantı kinotexnika ilə əlaqədar əsasən interyerlərdə lentə alınmışdı. Bu variant həm rəngli, həm də genişekranlı idi. Novatorluğu ilə səciyyələnən sənətkarın rejissurasında aktyor oyunu, dövrün təcəssümü, müxtəlif bədii tapıntılar diqqəti cəlb edir. Rejissor qayəsinin ifadəsinə çevrilən dolğun təsvirlər bədii fikrin açılmasında xüsusi rol oynayır. Tofiq Tağızadənin quruluşunda səhnələr ekran kompozisiyası baxımından bitkinliyilə seçilir. Filmdə rejissor Üzeyir Hacıbəylinin nəfəsini qorumağa çalışır. Tarixi obrazlarla aktyorların zahiri görünüşünün son dərəcə oxşar olması bioqrafik janrın estetikası çərçivəsindədir. Üzeyir Hacıbəyli haqqında bir neçə sənədli film də çəkilib. Bu filmlərin hər birində Üzeyir bəyin canlı obrazı ilə qarşılaşmaq mümkündür. Onlarda dahi sənətkarın həyat və yaradıcılıq yolunun ən qiymətli anları əbədiləşdirilib. Üzeyir Hacıbəyov haqqında çəkilmiş “Üzeyir ömrü” adlı film, Üzeyir şəxsiyyətinə, sənətkarlığına qoyulmuş bir bədii heykəldir. Film Üzeyir Hacıbəylinin uşaqlıq çağlarından olan epizodlarla başlayır. Filmin rejissoru Üzeyir Hacıbəyli böyüklüyünü uğurla verə bilib. Çox şübhəsiz ki, hər hansı bir rejissor çəkəcəyi filmin ssenarisinə istinad edir. Amma, filmin harada hansı məkanda çəkilməsi də, əsas şərtlərdəndir. Filmin ilkin epizodları Şuşada çəkilsə də, onun yetkinlik çağı Bakı mühiti ilə bağlıdır. Bu filmdə rolların da uğurla bölünməsi, dahi bir sənətkarın ömür yoluna işıq salan filmin yüksək səviyyədə alınmasına-Üzeyir Hacıbəylinin bir sənətkar kimi sənət aminə hər cür fədakarlığı göz önündə canlanır. Çoxşaxəli ömür həyat yolu keçən, Üzeyir Hacıbəylinin haqqında çəkilən bu Üzeyir ömrü adlı film sənətkar sənətinə verilən bədii bir görüntü olmaqla qalmayıb, böyük bəstəkarın lentlərdə əbədiləşən heykəlidir. Təbii ki, bir məqalə həcmində böyük düha sahibi Üzeyir Hacıbəylinin həyat yolu, istərsə də, ona həsr olunmuş film haqqında geniş danışmaq imkanı yoxdur. 1920-ci ildən şərqdə qurulan ilk müstəqil respublikada sonrakı 70 illik sovet dövründə SSRİ adlı məkanda yaşayan xalqların içərisində Azərbaycan adlı məkan da, onlarca dünya miqyaslı böyük sənətkarlar yetişdilər. Təkcə musiqi sahəsində millətimizi bəşəriyyətə tanıtdıran sənətkarlar Üzeyir Hacıbəyli məktəbinin yetirdiyi sənətkarlardı desək, fikrimizi daha dəqiq çatdırmış olarıq. Bəstəkarlıq sahəsində Fikrət Əmirov, Qara Qarayev, Arif Məlikov, Müslüm Maqomayev,Niyazi kimi bəstəkarlar və rejissorlar Üzeyir xeyirxahlığını, böyüklüyünü, üstadlığını öz söhbət və xatirələrində səmimiyyətlə göstərmiş, Üzeyir Hacıbəyli adını hörmətlə, ehtiramla anmışlar. Belə yanaşmanın başqa bir adı da qədirşünaslıqdır. Üzeyir Hacıbəyli ilə eyni yolun yolçusu, eyni sənətin təmsilçiləri bu böyük sənətkarı qiymətləndirməklə, öz şəxsiyyətlərinin, insanlıqlarının ucalığını təsdiqləyən amildir. Dahi bəstəkar Üzeyir Hacıbəyliyə həsr olunan “Üzeyir ömrü” və ya “Uzun ömrün akkordları” bədii filmində sənədli film elemetlərindən böyük ustalıqla istifadə olunmuşdur. Üzeyir Hacıbəylinin əsərləri, tamaşaları, həyat yolu ilə bağlı olan bir çox real faktlar bunun aydın sübutudur. Açar sözlər: Dahi bəstəkar, millətimizi bəşəriyyətə tanıtdıran sənətkarlar.
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Uya, Yifan. "Collaborative Vibration: The Mythic Journey of A Coal Boy." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.119.
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Acknowledging the Anthropocene crisis, my research examines myth and myth-making to reimagine the role of Claude Lévi-Strauss’ bricoleur concept. Following Joseph M. Coll’s Taoist and Buddhist systemic thinking inspired theory of sustainable transformation, the practice-led project evolves into the making of an essayist film that conveys a specific personal myth.My research reckons that a bricoleur should perceive myth-making as an organic growing organisation that acquires intuition and posteriori knowledge. And focus on a narrative that evolves into the mythic identity of a piece of coal and a bar-tailed godwit corresponding to designated oppositional values and semiotic assets. Apart from the practitioner works of Stan Brakhage, Chris Marker and Adam Curtis, my research also dives into Elysia Crampton Chuquimia, Howie Lee and Yaksha‘s musical languages to explore the other narrative possibilities when re-examining history in a socially conscious manner. As the film soundtrack is also part of the myth-making production. My practice-led project inevitably evolves into the subject of the self as the production presents a negotiation through metaphors and signifiers concerning memory, history and experience. The filmmaking echoes a search for the wisdom of self-acceptance. It adopts Stephen Yablo’s understanding of conceivability to generate and regenerate meaningful assets. Concepts are planted to grow into newer representations compromising posteriori knowledge and self-realisations, with informal syllogistic reasoning concerning the epistemological nature of imagination and the transformative structure of myth. The contextual knowledge of my research examines the subject of myth and myth-making through Jacques Lacan's theory of fantasy, Jungian analytical psychology and Claude Lévi-Strauss knowledge of structural linguistics. It adopts Lévi-Strauss’ canonical myth formula concerning the missing discussion of experience, community, and the wilder contexts of shamanology. Maurice Merleau-Ponty's phenomenological body and Martin Heidegger's thoughts on the philosophy of technology concerning the body-to-technology relation and the notion of symbolic light and darkness. With critics on the instrumentalist stance of technology and Rene Descartes's modal metaphysics concerning Arnold Gehlen’s conservative alert of mankind’s debased condition of modern existence, my research proposes that myth-making is a necessary altruistic form of social technology that can transform experience into wisdom. Acknowledging that will is the priority for behaviour change. The production examines the Dao of myth and myth-making as a specific technological answer to resolve David Attenborough's calling for a global transformation and collaboration in his book A Life of Our Planet. To further develop such a technology, my research seeks a systemic understanding of myth and myth-making. Therefore, my research hypothesis a wholistic and heuristic methodology, namely Daoist bricoleur. By experiencing a personal myth, I celebrate my Manchu and Chinese culture origin and the complexity of my upbringing. My research visits the endangered Manchu Ulabun storytelling tradition and reckons the film production rely on the structural establishment of critical mythic fragments founded on autobiography and social conventions. As a permanent resident of New Zealand born in a coal-mining town in eastern Inner Mongolia, China, with an unverifiable ancestral clan name related to Kangxi, Yongzheng and Qianlong Emperor of the Qing Dynasty and much more.