Artículos de revistas: "Satie"

1

Thomson, Andrew Hugill, Ornella Volta y Michael Bullock. "Satie Seen". Musical Times 131, n.º 1763 (enero de 1990): 35. http://dx.doi.org/10.2307/965628.

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2

Dickinson, Peter. "Collecting Satie". Musical Times 131, n.º 1772 (octubre de 1990): 551. http://dx.doi.org/10.2307/966518.

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3

Schiff, Christopher P., Robert Orledge y Roger Nichols. "Satie Remembered". Notes 53, n.º 2 (diciembre de 1996): 476. http://dx.doi.org/10.2307/900138.

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4

Symons, David. "Erik^Satie". Musicology Australia 11, n.º 1 (enero de 1988): 119–20. http://dx.doi.org/10.1080/08145857.1988.10420648.

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5

Frionnet, Christophe. "Erik Satie". Sens-Dessous 8, n.º 1 (2011): 107. http://dx.doi.org/10.3917/sdes.008.0107.

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6

Nichols, Roger y Robert Orledge. "Satie the Composer". Musical Times 132, n.º 1782 (agosto de 1991): 392. http://dx.doi.org/10.2307/965890.

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7

Smith, Richard Langham. "The Serious Satie". Musical Times 132, n.º 1782 (agosto de 1991): 393. http://dx.doi.org/10.2307/965891.

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8

Lesure, François, Robert Orledge y Francois Lesure. "Satie the Composer". Revue de musicologie 77, n.º 1 (1991): 137. http://dx.doi.org/10.2307/947195.

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9

Orledge, Robert. "Satie & America". American Music 18, n.º 1 (2000): 78. http://dx.doi.org/10.2307/3052391.

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10

Dickinson, Peter. "Satie & Hahn". Musical Times 131, n.º 1771 (septiembre de 1990): 488. http://dx.doi.org/10.2307/1193673.

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11

Jackson, Jeffrey H. "Erik Satie (review)". Modernism/modernity 15, n.º 2 (2008): 402–3. http://dx.doi.org/10.1353/mod.2008.0026.

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12

Orledge, Robert. "The Musical Activities of Alfred Satie and Eugénie Satie-Barnetche, and Their Effect on the Career of Erik Satie". Journal of the Royal Musical Association 117, n.º 2 (1992): 270–97. http://dx.doi.org/10.1093/jrma/117.2.270.

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Erik Satie is now thought of as a precursor and a man of ideas whose unconventional career took its direction from his continual rethinking of every aspect of contemporary music and aesthetics, largely as a reaction to nineteenth-century tradition and excesses. Eugénie Satie-Barnetche, whose ultimate aim for her stepson was a brilliant career as a pianist with an official seal of approval from the Paris Conservatoire, provided just one example of such a tradition, whilst her husband Alfred, the gifted and impulsive dilettante and a Romantic at heart, might well be seen as another. In fact, it is easy to conclude that Eugénie's academic approach helped to turn Satie into a left-wing revolutionary, whilst the uninspired salon music of both his parents made him determined to become a serious professional composer. But that is by no means the whole story, for Erik was very close to his father, even if he disliked his stepmother, and Alfred's love of the music-hall (whose songs he both wrote and published) was enthusiastically inherited by his son. Even after Satie abandoned his work as a cabaret pianist around 1911, the influence of this popular medium still ran as a thread through his later compositions. Similarly, he was often forced to resort to his stepmother's profession of piano teaching to make ends meet, and in the 1920s he delighted in moving in the exalted social circles that his aspiring stepmother had only dreamt about as she mounted her bourgeois musical soirées in the Boulevard de Magenta in the 1880s. Like Alfred and Eugénie, Satie also spent much of his composing time with short piano pieces that he hoped would reach a popular market, and dance music runs as another thread throughout his career, just as it did in their own compositions. Above all, Satie's parents provided domestic surroundings in which music played a substantial part, with the emphasis on the present rather than the past, though it remained for Satie alone to take music into the future.

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13

JENSEN, ERIC FREDERICK. "SATIE AND THE ‘GYMNOPÉDIE’". Music and Letters 75, n.º 2 (1994): 236–40. http://dx.doi.org/10.1093/ml/75.2.236.

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14

Gonçalves-Pinho, M. y J. P. Ribeiro. "Erik Satie – a psychopathological approach". European Psychiatry 64, S1 (abril de 2021): S687. http://dx.doi.org/10.1192/j.eurpsy.2021.1821.

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IntroductionÉric Satie was a French classical music composer born in May of 1866. He composed several music pieces that did not fit the contemporaneous musical standard once he did not follow the orthodox rules of composition and harmonic expression.ObjectivesTo analyse Erik Satie personality traits and possible psychopathological findings.MethodsA narrative review was performed using Google Scholar database.ResultsHis music, as it occurs in most musical composers, was said to translate his own personality and state of mind at the time. He was described as an eccentric with multiple descriptions demonstrating unstable and explosive personality traits of pride, determination, perfectionism and a hatred for convention that would put him near a Cluster A type of personality.ConclusionsAlthough some authors conclude that Satie could be diagnosed with Asperger Syndrome I believe that his specificities represent more of personality traits than pathological findings.DisclosureNo significant relationships.

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15

Racine, Rober. "Cage/Satie, le silence vertigineux". Circuit 8, n.º 2 (5 de marzo de 2010): 39–44. http://dx.doi.org/10.7202/902204ar.

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L’auteur raconte comment, sans avoir eu l’occasion de rencontrer Cage, il a été mis en contact avec lui par l’intermédiaire de Satie dont il a joué les Vexations à quatre reprises. Il évoque également son oeuvre visuelle, La musique d’une Cage.

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16

Kriff, Jean. "Satie, Lénine et quelques autres..." Humanisme N° 313, n.º 4 (1 de noviembre de 2016): 101–5. http://dx.doi.org/10.3917/huma.313.0101.

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17

Clifton, Keith. "Erik Satie (review)". Notes 64, n.º 4 (2008): 741–43. http://dx.doi.org/10.1353/not.0.0004.

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18

Thomson, Andrew. "Sarabande sur le nom d'Erik Satie". Musical Times 134, n.º 1800 (febrero de 1993): 84. http://dx.doi.org/10.2307/1002412.

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19

Pena, Eder. "Satie e a arte da polifonia". Opus 22, n.º 1 (junio de 2016): 97–118. http://dx.doi.org/10.20504/opus2016a2204.

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20

ORLEDGE, ROBERT. "SATIE, KOECHLIN AND THE BALLET ‘USPUD’". Music and Letters 68, n.º 1 (1987): 26–41. http://dx.doi.org/10.1093/ml/68.1.26.

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21

ADAMS, C. S. "ERIK SATIE AND GOLDEN SECTION ANALYSIS". Music and Letters 77, n.º 2 (1 de mayo de 1996): 242–52. http://dx.doi.org/10.1093/ml/77.2.242.

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22

ORLEDGE, ROBERT. "SATIE AND THE ART OF DEDICATION". Music and Letters 73, n.º 4 (1992): 551–64. http://dx.doi.org/10.1093/ml/73.4.551.

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23

Thorman, Marc. "John Cage's "Letters to Erik Satie"". American Music 24, n.º 1 (1 de abril de 2006): 95. http://dx.doi.org/10.2307/25046005.

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24

Albright, Daniel. "Postmodern Interpretations of Satie's Parade". Canadian University Music Review 22, n.º 1 (4 de marzo de 2013): 22–39. http://dx.doi.org/10.7202/1014497ar.

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If postmodernism can be considered ahistorically, as a stylistic category operative at any time and in any place, then there are many older works that suddenly seem to speak strongly to our present age. This paper argues the case for taking Erik Satie as a postmodernist: his music is marked by bricolage (the E-driophthalma movement from Embryons desséchés, 1913, borrows a theme, according to the score, "from a celebrated mazurka by Schubert"); by polystylism (the cabaret songs written for Vincent Hyspa, or Parade with its quotation from Irving Berlin); and by materialism of the signifier (what Satie calls furniture music).

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25

Josephson, Nors S. "Cyclical Tendencies in the Later Music of Erik Satie (1866-1925)". Musicologica Olomucensia 32, n.º 1 (11 de diciembre de 2020): 68–80. http://dx.doi.org/10.5507/mo.2020.013.

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26

Nichols, Roger y Steven Moore Whiting. "Satie the Bohemian, from Cabaret to Concert Hall". Revue de musicologie 86, n.º 2 (2000): 354. http://dx.doi.org/10.2307/947412.

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27

Rigault, Jean-Luc. "Lettre à une demoiselle normande effarée par Satie". Études Normandes 5, n.º 1 (2018): 32–37. http://dx.doi.org/10.3406/etnor.2018.3703.

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28

Dayan, Peter. "Truth in Art, and Erik Satie's Judgement". Nineteenth-Century Music Review 6, n.º 2 (noviembre de 2009): 91–107. http://dx.doi.org/10.1017/s1479409800003116.

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AbstractIt is certainly true that Satie, in his later years, did not tire of repeating that there is ‘no Truth in Art’; and in saying so, he was doubtless very much in tune with the spirit of his artistic milieu, which included, after all, such aesthetic anarchists as Picabia and Tzara, as well as the great artistic revolutionaries of the time, Picasso and Stravinsky, for whom he had unbounded admiration. And every time he did so, he was careful to attribute the erroneous belief that there is a Truth in Art to that class of writers whom he variously called ‘critiques’, ‘pédagogues’, ‘Pontifes’, ‘pions’: people of the serious persuasion, who think it is possible to teach or describe what makes a piece of art good or bad. Attacks against this tribe are, in fact, the staple of Satie's writings. It might appear sensible to infer from this that it would be foolish for a critic to look for Truth in Erik Satie's writings about art. Nonetheless, that is what I shall be doing in this article. I shall argue that, while there may, for Satie, be no truth in art, there are truths about art, susceptible of at least indirect expression, which Satie himself maintained with remarkable adroitness. Whether those truths are peculiar to the aesthetics of Satie's writings; whether they are relevant to the way we might appreciate his music; and whether they have echoes in the thought of his artistic companions (especially those mentioned above) – these are questions that will remain open; but I would like at least to suggest that they are worth asking.

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29

Makomaska, Sylwia. "Erik Satie – the ‘progenitor’ of muzak or the precursor of ‘pipedown’ movement? On the concept of musique d’ameublement". Interdisciplinary Studies in Musicology, n.º 19 (31 de diciembre de 2019): 135–45. http://dx.doi.org/10.14746/ism.2019.19.9.

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Erik Satie (1866–1925) was a colourful and intriguing artist in the world of Parisian avant-garde. In the turbulent times of the early 20th century he created the concept of musique d’ameublement (‘furniture music’) – a vision of music that did not require attentive listening because it was supposed to play an extravagant role (as it was perceived in that period) of an acoustic background accompanying all everyday events. A change in recording and sound reproduction techniques in the 20th century that led to the ubiquity of music in the contemporary world seems to confirm that Satie’s ‘furniture music’ can be treated as a prophetic idea. However, the problem of how the concept of musique d’ameublement should be interpreted still remains ambiguous. The main aim of the present paper is to discuss the two contrary ways of the interpretation of ‘furniture music’. The first approach assumes that Satie can be treated as ‘the progenitor’ of muzak – a musical genre initially associated with the activities of Muzak company and then gradually identified with any background music provided on a mass scale to the public space. The second approach is an attempt to interpret the concept of musique d’ameublement in a completely different way – as an expression of opposition to an increasingly mechanized Western world dominated by progress and technology, where the role of music boils down only to the function of the acoustic background. Therefore, Satie becomes one of the precursors of the actions taken by the opponents of muzak (e. g. pipedown movements), who seek to eliminate the imposed background music from the public space. The reconstruction of musique d’ameublement (basing, inter alia, on selected source materials) is treated as a starting point for the discussion that leads to the acoustic ecology perspective.

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30

WHITING, S. M. "ERIK SATIE AND VINCENT HYSPA: NOTES ON A COLLABORATION". Music and Letters 77, n.º 1 (1 de febrero de 1996): 64–91. http://dx.doi.org/10.1093/ml/77.1.64.

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31

Davidian, Teresa Maria. "Satie the Bohemian: From Cabaret to Concert Hall (review)". Notes 58, n.º 1 (2001): 94–95. http://dx.doi.org/10.1353/not.2001.0131.

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32

Fung, Catherine H. M. "Asperger’s and musical creativity: The case of Erik Satie". Personality and Individual Differences 46, n.º 8 (junio de 2009): 775–83. http://dx.doi.org/10.1016/j.paid.2009.01.019.

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33

Dayan, Peter. "Érik Satie, Uspud, et la mystification au service de l'art". Romantisme 156, n.º 2 (2012): 101. http://dx.doi.org/10.3917/rom.156.0101.

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34

Rathert, Wolfgang y Andreas Traub. "Zu einer bislang unbekannten Ausgabe des „Socrate“ von Erik Satie". Die Musikforschung 38, n.º 2 (22 de septiembre de 2021): 118–21. http://dx.doi.org/10.52412/mf.1985.h2.1475.

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35

remes, J. "Serious immobilities: Andy Warhol, Erik Satie and the furniture film". Screen 55, n.º 4 (1 de diciembre de 2014): 447–59. http://dx.doi.org/10.1093/screen/hju035.

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36

Sparks, Paul. "Erik Satie: Music, Art, and Literature ed. by Caroline Potter". Modernism/modernity 21, n.º 2 (2014): 561–63. http://dx.doi.org/10.1353/mod.2014.0044.

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37

ORLEDGE, ROBERT. "SATIE AT SEA, AND THE MYSTERY OF LA ‘BELLE CUBAINE’". Music and Letters 71, n.º 3 (1990): 361–73. http://dx.doi.org/10.1093/ml/71.3.361.

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38

Clausius, Katharina. "JOHN CAGE'S ‘WHITENESS’: ‘CHEAP IMITATION’". Tempo 65, n.º 258 (octubre de 2011): 11–19. http://dx.doi.org/10.1017/s0040298211000350.

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‘To be interested in Satie one must be disinterested to begin with,’ declares John Cage of his contradictory relationship with the older composer. If paradox summarizes this particular discourse between an interested pupil and his predecessor, however, it is both a compositional and musicological discourse exploring the juxtaposition of explicit historicism and aesthetic distance, or ‘disinterest’. The project, or rather the problem, of musical ‘neutrality’ is one that Cage inherited from his idol and subsequently adopted with enthusiasm, as his stubborn pre-occupation with Erik Satie's 1918 symphonic drama, Socrate, evinces. Cage's initial encounter with Satie's work seems quickly to have inspired a commitment to interrogating modernism's engagement with history. Having been introduced to Socrate by Virgil Thomson in a performance that, in Anthony Tommasini's words, ‘profoundly changed Cage, [who] grew to revere Satie’, Cage immediately set out to adapt the score for Merce Cunningham's ballet Idyllic Song in 1947. Denied copyright permission for his two-piano arrangement, Cage resourcefully set out to re-write the musical accompaniment for the ballet (and appease the disobliging publishers) more than two decades later in 1969, retaining Satie's original phrasing in order to preserve Cunningham's choreography and sardonically re-titling the piece Cheap Imitation.

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39

Dossena, Pietro. "À la recherche du vrai Socrate". Journal of the Royal Musical Association 133, n.º 1 (2008): 1–31. http://dx.doi.org/10.1093/jrma/fkm013.

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Socrate, Erik Satie's self-acknowledged masterpiece, generated various interpretations but still remains problematic. This article adopts a genetic perspective and, through the analysis of the most interesting ‘key passage’ (bars 46–59 of Le banquet), adds to the understanding of the passage itself (the interpenetration between the figures of Satie, Socrates and Christ as sacrificial victims) and of the work as a whole. In this regard, the category of homogeneity is presented as the most relevant.

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40

Valdebenito Carrasco, Lorena. "La subversión musical de Erik Satie por medio del pensamiento cínico". Revista musical chilena 73, n.º 231 (julio de 2019): 98–119. http://dx.doi.org/10.4067/s0716-27902019000100098.

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41

Gandebeuf, Jean-Pierre y Jean-Louis Jacquier-Roux. "Max Jacob et Erik Satie : amis de coeur, amis de cour ?" Les Cahiers Max Jacob 19, n.º 1 (2019): 476–82. http://dx.doi.org/10.3406/maxja.2019.1387.

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42

Kınalı, Gürhan. "İkinci Bayar Hükümetini Sarsan Yolsuzluk Hadiselerine İki Örnek: Satie ve İmpeks". VAKANÜVİS - ULUSLARARASI TARİH ARAŞTIRMALARI DERGİSİ 2, n.º 2 (12 de noviembre de 2017): 119–63. http://dx.doi.org/10.24186/vakanuvis.351423.

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43

Clifton, Keith E. "Erik Satie: A Parisian Composer and His World by Caroline Potter". Fontes Artis Musicae 64, n.º 1 (2017): 75–77. http://dx.doi.org/10.1353/fam.2017.0005.

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44

Whittall, A. "Erik Satie. By Mary E. Davis. * Debussy. By David J. Code." Music and Letters 92, n.º 4 (1 de noviembre de 2011): 667–69. http://dx.doi.org/10.1093/ml/gcr074.

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45

Iker, Sarah. "Erik Satie: A Parisian Composer and His World by Caroline Potter". Notes 75, n.º 1 (2018): 93–95. http://dx.doi.org/10.1353/not.2018.0075.

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46

Gerber, Richard J. "James Joyce, Marcel Duchamp, Erik Satie: An Alphabet (review)". James Joyce Quarterly 48, n.º 1 (2010): 196–202. http://dx.doi.org/10.1353/jjq.2010.0025.

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47

Perry, Jeffrey. "‘A Quiet Corner Where We Can Talk’: Cage's Satie, 1948–1958". Contemporary Music Review 33, n.º 5-6 (2 de noviembre de 2014): 483–511. http://dx.doi.org/10.1080/07494467.2014.998415.

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48

Zagredniuk, Alexandra E. "From Eric Satie to Brain Eno: genesis of mass music culture". Vestnik of Saint Petersburg State University of Culture, n.º 3 (56) (2023): 43–49. http://dx.doi.org/10.30725/2619-0303-2023-3-43-49.

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Mass musical culture is a complex phenomenon undergoing constant changes under the influence of civilizational changes. The history of mass musical culture today is more than a century old, it is covered in a number of authoritative scientific works, however, a number of its aspects still provoke discussions and need deeper theoretical understanding. The purpose of the article is to analyze the “furnishing” music of E. Satie and “Music for Airports” by B. Eno as vivid manifestations of background music, which is one of the directions in the development of mass musical culture in the 20th century. In most modern domestic studies, the work of E. Satie is analyzed from the point of view of belonging to academic music, but here the main emphasis is on those features that later provoked the development of the phenomenon of mass musical culture. The heritage of B. Eno is also not a new topic for domestic art history, however, many of its aspects represent a wide field for research. If in Europe and the USA ambient regularly becomes the subject of scientific works, dissertations, articles, then in Russia it has not yet received due attention and remains outside the scope of most studies devoted to the problems of mass musical culture. Parallel E. Sati – B. Eno» allows us to characterize one of the many ways in the development of mass musical art and, through the analysis of specific compositions, to reveal its specifics.

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49

Orledge, Robert. "Erik Satie's Ballet Mercure (1924): From Mount Etna to Montmartre". Journal of the Royal Musical Association 123, n.º 2 (1998): 229–49. http://dx.doi.org/10.1093/jrma/123.2.229.

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Mercure, a ballet in three tableaux with scenery and costumes by Pablo Picasso and choreography by Léonide Massine, created a scandal on a par with that of Parade (1917) when it was first performed at La Cigale Theatre in Montmartre on 15 June 1924 as part of the ‘Soirée de Paris’ season mounted by the wealthy Comte Etienne de Beaumont. Although Mount Etna, as it transpired, featured in the scenario but not in Picasso's stage sets, the première was certainly the scene of a volcanic eruption, a deliberate demonstration orchestrated by the Surrealists (led by the poet André Breton), who tried to drown Satie's music-hall score with their cries of ‘Long live Picasso! Down with Satie!’ The reasons behind this were complex and inseparable from Satie's enthusiastic support for the Dada movement and its founder, Tristan Tzara, from 1919 onwards. After the failure of the Congrès de Paris (convened by Breton to establish a Dada constitution and himself as leader), Satie took great delight in assuming the presidency of Breton's public trial at the Closerie des Lilas restaurant on 17 February 1922. Their enmity was further intensified by Satie's participation in the ‘happening’, known as La soirée du Coeur à barbe, which Tzara mounted at the Théâtre Michel on 6 July 1923. In what might be regarded as a dress rehearsal for Mercure, the newly founded Surrealists under Breton mounted a campaign in support of Picasso, which led to Breton being expelled by the police.

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50

Smith, Richard Langham y Nancy Perloff. "Art and the Everyday: Popular Entertainment and the Circle of Erik Satie". Musical Times 132, n.º 1782 (agosto de 1991): 392. http://dx.doi.org/10.2307/965889.

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Artículos de revistas sobre el tema "Satie"

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