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Littérature scientifique sur le sujet « Musikalisk form »

Auteur : Grafiati
Publié le 4 juin 2021
Mis à jour le 1 février 2022

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Articles de revues sur le sujet "Musikalisk form"

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Weßel, Matthias. "Zyklusgestaltung in Franz Schuberts Instrumentalwerk." Die Musikforschung 49, no. 1 (2021): 19–35. http://dx.doi.org/10.52412/mf.1996.h1.1014.

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Aus der Themen- und Formbildung innerhalb der Finalsätze geht hervor, daß Schubert den Endpunkt innerhalb des Satzzyklus und damit die zeitliche Abfolge der Einzelsätze insgesamt musikalisch artikuliert. Das Finale bezeichnet einen Zustand der Entspannung. Seine Merkmale sind praktische Lockerung der Form, Öffnung für Episoden und rhythmische Vereinfachung. Es entsteht der Eindruck eines richtungslosen und potentiell unendlichen Verstreichens von Zeit. In ihrem Lauf schickt sich die Musik und verweigert damit den Entwurf einer Utopie.
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Bonds, Mark Evan. "Aesthetic Amputations: Absolute Music and the Deleted Endings of Hanslick's Vom Musikalisch-Schönen." 19th-Century Music 36, no. 1 (2012): 3–23. http://dx.doi.org/10.1525/ncm.2012.36.1.003.

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Abstract Eduard Hanslick's Vom Musikalisch-Schönen (1854) is the single most important document in the history of the construct known as absolute music, the idea that music functions as an entirely self-contained and self-referential art. Hanslick deleted—and did not replace—the final paragraph of the first edition, cutting most of it for the second edition of 1858 and the remainder for the third edition of 1865. This original ending evokes imagery that stands out from most of the rest of the treatise, including references to the “great motions of the cosmos” and “profound and secret connectio
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Serdiuk, Ya O. "Amanda Maier: a violinist, a pianist, a composer – the representative of Leipzig Romanticism." Aspects of Historical Musicology 17, no. 17 (2019): 232–48. http://dx.doi.org/10.34064/khnum2-17.15.

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Background. The performance practice of recent decades demonstrates an obvious tendency to expand and update the repertoire due to the use of the works of those composers whose pieces had “lost” over time against to the pieces of their more famous contemporaries. At the same time, in sociology, psychology, culturology, gender issues are largely relevant. Musicology does not stand aside, applying the achievements of gender psychology in the study of composer creativity and musical performing (Tsurkanenko, I., 2011; Gigolaeva-Yurchenko, V., 2012, 2015; Fan, Liu, 2017). In general, the issue of g
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Grimes, Nicole. "A Critical Inferno? Hoplit, Hanslick and Liszt’s Dante Symphony." Journal of the Society for Musicology in Ireland, April 13, 2012, 3–22. http://dx.doi.org/10.35561/jsmi07111.

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The question of how to distinguish between form with a spiritual dimension and hollow form preoccupied Eduard Hanslick throughout his career as a writer on music aesthetics and as a music critic. His grappling with this issue was not confined to Vom Musikalisch-Schönen. It was manifest in his critical output, where he famously and consistently for many years singled out the music of Liszt as lacking a spiritual dimension. Hanslick has been noted for his views on Liszt since the mid-nineteenth century. More recently, Markus Gärtner has inestimably enhanced our understanding of the nature of the
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Thèses sur le sujet "Musikalisk form"

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Kristenson, Lo. "Motstånd – vridandets rörelser : reflektioner över motstånd som musikaliskt uttryck." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2077.

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I den här texten reflekterar jag kring hur erfarenheter av motstånd kan påverka min musik samt hur motstånd kan användas som verktyg i en skapandeprocess. Skapande är för mig motstånd, samt att göra motstånd. Motstånd kan här betyda tyngd och tryck, men verkar också som kraft och energi. Motstånd i den här texten är rörelser. Motstånd som håller emot, som trycker ned, som ger frustration och tyngd men också det motstånd som ger styrka och en sorts vild, ilsken glädje. Motståndskraft är avbrytande. Motstånd kan vara erfarenheter av förtryck, erfarenheter som sätter sig i kroppen. Motstånd ger k
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Lembring, Anna. "Svängrum : En observationsstudie av socialt och musikaliskt samspel ur ett genusperspektiv." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-33133.

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Syftet med föreliggande studie är att utifrån ett genusperspektiv studera det sociala och musikaliska samspelet i ensembleundervisning på högstadiet och gymnasiet. Studien utgår från ett genusperspektiv där genus ses som en social konstruktion. Datamaterialet består av videoobservationer av tre musiklektioner där ensemblespel stod på schemat. Resultatet visar att eleverna aktivt återskapade könsstereotypa instrumentfördelningar och på så vis befäste den heteronormativa hierarkin. Resultatet visade dessutom ett mer dominant platstagande hos vissa killar i grupperna och ett generellt sett mer un
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Jansson, Mas Karin. "Var finns musiken? : Musiklärarstudenter söker information i form av musikalier." Thesis, Högskolan i Borås, Akademin för bibliotek, information, pedagogik och IT, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-490.

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There have been many studies made regarding students and information seeking, however few studies have been done about music teacher students. Music is a unique area of information seeking because it does not only entail seeking printed publications but also audio- and visual recordings.How do music teacher students experience information seeking in their own field of music? What methods do they use to seek information in the form of music? Does the music library on site play a role in their information seeking? A qualitative study has been made researching how music teacher students at Ingesu
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Gavel, Leo. "Nikolai Medtner Sonata Reminiscenza Op. 38 no. 1 : analys av form och musikaliskt innehåll." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1834.

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I detta examensarbete analyseras den ryska kompositören Nikolai Medtners Sonata Reminiscenza Op. 38 no. 1 från ett harmoniskt, motiviskt och strukturellt perspektiv. Denna analys innefattar också reflektioner kring några av författarens interpretationsmässiga val. Syftet med studien är att undersöka hur styckets form och harmonik kopplar det samman såväl med den klassiska kompositionskonstens regler som med Medtners artistiska/poetiska mål. Studiens resultat påvisar att verket är såväl kompositionstekniskt fulländat som känslomässigt rikligt. Sonatformen är på ett sofistikerat vis implementera
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Brodin, Jonas. "Launy Grøndahls trombonkonsert : En studie om den performativa och musikaliska aspekten av ett solistiskt framträdande." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2976.

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Dagens solistiska framträdanden inom den klassiska musiken kan se olika ut, men det finns särskilda aspekter och kvalitéter som kännetecknar de mest framstående solisternas framföranden. Det kan handla om hur solisten kommunicerar med andra personer i rummet, vad kroppsspråket uttrycker, med mera. Den här skriftliga reflektionen inom ett konstnärligt examensarbete behandlar och redovisar en process rörande instudering av olika framförandepraxis och senare även tillämpning av dessa på Launy Grøndahls trombonkonsert. I inspiration av framstående solister som Christian Lindberg och
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Schöld, Joanna. "Musik och akustik : En studie om hur akustik och efterklang kan forma ett musikaliskt framträdande." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-84847.

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Detta arbete handlar om hur akustik kan forma en musikers musikaliska tolkning. Tanken med arbetet är att få en större inblick kring hur akustiken formar mig som musiker, men även hur det formar mitt musikaliska framträdande och min musikaliska tolkning. Studien genomfördes genom att jag spelade tvärflöjt i de olika akustiska miljöerna Black Box-Studio Acusticum, Saursalen- Norrbottensmusiken- Studio Acusticum samt Hortlax kyrka-Piteå. På varje plats spelade jag samma 3 stycken, som alla var av olika karaktär. När jag hade spelat på varje plats skrev jag ner mina reflektioner om
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Schulze, Gabi. "„DaCapo“." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-60943.

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Die DZB und die „Blindenselbsthilfe“ gründeten mit Hilfe des Bundesministeriums für Arbeit und Soziales das Projekt „DaCapo“. Ziel ist es, neben der Produktion wichtiger Standardwerke für Blinde die Verbreitung der Braille-Notenschrift zu fördern. Die Braille-Notenschrift ist eine ertastbare Notenschrift, die aus erhabenen Punkten, wie bei der Blindenschrift, besteht. Die normalen Schwarzschrift-Noten werden technisch bearbeitet und mithilfe einer neu entwickelten Software in Braille-Noten übersetzt.
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Andersen, Hedda Lund. "En del av Adele : En självobservationsstudie av en konstnärlig process kring instuderingen av en operaroll." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-64842.

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Hur kan jag som lärarstudent vid en musikhögskola instudera en operaroll? Jag har undersökt denna fråga genom att observera instuderingsarbetet av rollen som kammarjungfrun Adele från operetten Läderlappen av Johann Strauss. Förutom det konstnärliga arbetet och utforskandet av detta har även perspektivet design för lärande använts som teoretiskt utgångspunkt.  Resultaten tematiseras och systematiseras i huvudrubrikerna Resurser och medel samt Processen. I resultatet framkommer instuderingens komplexitet och vilka beståndsdelar som krävdes. Faktorer i resultatet  som till exempel skratt och des
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Chapitres de livres sur le sujet "Musikalisk form"

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Guldbrandsen, Erling E. "Om den psykologiske realiteten av langstrakt musikalsk form: Et musikkfilosofisk forsøk." In Musikkfilosofiske tekster. Tanker om musikk – og språk, tolkning, erfaring, tid, klang, stillhet m.m. Cappelen Damm Akademisk/NOASP, 2020. http://dx.doi.org/10.23865/noasp.115.ch11.

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What is time? What is the relationship between music and time? Does time flow towards us from the future to the past, or do we move through time from the past to the future? Is there even such a thing as the “passage of time”, or is that a just another metaphorical construction? “The now” in human short-term memory lasts for approximately 3–5 seconds. In this article, the topic is how the consciousness can construct, experience and maintain coherence in longer-term occurrences, for example, a musical composition lasting 20–30 minutes. The article suggests that the form of these musical compositions is perhaps structured analogously with the long-term memory’s own hierarchical divisions and mode of operation in the human mind. The article discusses the connection between overview (hors-temps, meaning outside time) and process (durée, meaning duration) in the listening experience. To be able to follow a long-lasting musical form, be it in performance or in musical listening, one needs to be both “in” the time-flow and outside of it at the same time. Hence, since “presence” and “distance” are clearly different perspectives, they form a paradoxical relation of being both contradictory and mutually interdependent. The interplay between musical detail, overview and direction is relevant to the concept of Fernhören, coined by Heinrich Schenker and Wilhelm Furtwängler. Since music needs to unfold during time, a large-scale musical work cannot be seen merely as an object (Sein, or being) but is also a process of constant re-shaping and change (Werden, or becoming) in the workings of perception, memory and expectation in the listening experience.
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Nielsen1, Nanette. "Den musikalske etik." In Musikkfilosofiske tekster. Tanker om musikk – og språk, tolkning, erfaring, tid, klang, stillhet m.m. Cappelen Damm Akademisk/NOASP, 2020. http://dx.doi.org/10.23865/noasp.115.ch4.

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Music studies and philosophy have over the past few years seen increasing interaction: music scholars have found inspiration in philosophical topics and methods, and philosophers have engaged enthusiastically with the world of music, for example by using the art form to gain new insight into topics such as emotion, consciousness, and ethics. This scholarly interaction continually presents new and exciting interdisciplinary avenues through which both music studies and philosophy can develop and grow. While drawing on a selection of recent literature and approaches, this article accounts for (what I call) ’musical ethics’ and discusses what music might bring to scholarly discourse about ethics. Instead of viewing music as a philosophical ‘problem’ that needs to be solved, I suggest that a more fruitful strategy is to approach music and musical engagement as a philosophical opportunity through which we can better understand ourselves and the world around us. With a focus on examples of film music, I argue that musical ethics can uncover important facets of what it means to be both human and humane.
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Rinholm, Hanne. "Musikalsk-estetisk erfaring som tilsynekomsthendelse." In Musikkfilosofiske tekster. Tanker om musikk – og språk, tolkning, erfaring, tid, klang, stillhet m.m. Cappelen Damm Akademisk/NOASP, 2020. http://dx.doi.org/10.23865/noasp.115.ch3.

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The essay examines the notion of musical–aesthetic experience as an event of appearance in the light of the aesthetic theories of Heidegger, Gadamer, Adorno, Seel, and Gumbrecht. Despite their radically different responses to the challenges posed by late modernity and their distinctive ways of rethinking metaphysics, some underlying common concerns and insights can be detected. What appears in aesthetic experience is, for all of them, not merely a construction by the subject, as implied by Kant’s aesthetics, but rather ‘something’ that arises from the work of art itself. For Heidegger, this happens through the process of ‘enowning’ (Ereignis), while Gadamer speaks of ‘presentation’ (Vollzug), Adorno of ‘epiphanies’ of the ‘non-identical,’ Seel of ‘appearance,’ and Gumbrecht of the ‘production of presence’. There is a common insight that the status of the subject must be changed by such experiences. Instead of ‘using violence against the object’ (Adorno), a certain passivity is appropriate. Gumbrecht suggests applying Heidegger’s notion of ‘releasement’ (Gelassenheit) to aesthetic experience as a response to the ‘loss of world’ in late modernity. The essay shows how the event of appearance points towards features typically associated with the notion of musical experience as existential experience.
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Torgersen, Jan Ketil, and Morten Sæther. "Er jeg musikalsk? Barnehagelærerstudenters oppfatning av egen musikalitet." In Higher Education as Context for Music Pedagogy Research. Cappelen Damm Akademisk/NOASP, 2021. http://dx.doi.org/10.23865/noasp.119.ch12.

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This article presents results from a quantitative study of Early Childhood Education and Care (ECEC) student teacher’s relationship to music and musicality. Survey data was collected among first-year students at a university college for ECEC at the start of studies in 2013, 2014, 2015 and 2017. The survey consists in its entirety of ten different questions. This article discusses four questions from the survey that deal with the students’ perception of their own musicality and what it means to be musical. 1,019 responses have been registered, which gives a response rate of approximately 91% of the total number of students in the four study years the survey was conducted. Frequency analyzes and cross-table analyzes have been performed. Results show that perceptions of one’s own musicality can be put in context with different understandings of what it means to be musical. Musical activity in close family in childhood is important when it comes to musical interest and perception of one’s own musicality. The article discusses the significance of the results in relation to music teaching in higher education.
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Holm, Henrik. "Musikkfilosofiske tankekonstellasjoner om musikalsk mottakelighet og språk." In Musikkfilosofiske tekster. Tanker om musikk – og språk, tolkning, erfaring, tid, klang, stillhet m.m. Cappelen Damm Akademisk/NOASP, 2020. http://dx.doi.org/10.23865/noasp.115.ch6.

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This essay focuses on two themes: man’s receptivity to music, and the verbalization of musical experience in a philosophical context. I begin with the listener’s attraction to music and then move on to longing as a basic concept in understanding musical receptivity. In the philosophy of music, the aesthetic-musical experience is of central importance to being able to verbally express what happens in the meeting between music and listener. Three central philosophers of music, Nietzsche, Adorno and Jankélévitch, all address the possible language character of music, although they do so in different ways and with different aims. I expand on some thoughts of these philosophers that open up for three different constellations of thought about the path from the aesthetic-musical receptivity to music to the philosophical verbalization of man’s attraction to music.
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McManus, Laurie. "Imperatives of Purity and Sensuality." In Brahms in the Priesthood of Art. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190083274.003.0002.

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This chapter analyzes the factors contributing to the debates over musical purity and sensuality that had formed a significant thread of music criticism by the early 1850s, when Brahms began his career. The construction of purity developed in two interrelated ways: First, through the German Romantic valuation of music from Bach and earlier; this early music’s contrapuntal techniques and mostly diatonic harmony were praised as pure and moral by a range of commentators from E. T. A. Hoffmann to Justus Thibaut to Dominicus Mettenleiter. Second, in Eduard Hanslick’s famous 1854 treatise, Vom Musikalisch-Schönen, he attempted to divorce music from its extra-musical and political contexts; nonetheless, his argument retained the connotations of moral superiority while claiming purity for contemporary instrumental music. Pure music stood in opposition to Wagnerian sensuality, a Young Hegelian development that presented revisionist notions not only of opera but also of music’s meaning and communicative power. In this context, ideas of musical purity came under fire just as Brahms began his compositional career.
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Tellmann, Vibeke Andrea. "La oss snakke om musikk: Wilhelm Heinrich Wackenroders og Ludwig Tiecks musikalske fantasier." In Musikkfilosofiske tekster. Tanker om musikk – og språk, tolkning, erfaring, tid, klang, stillhet m.m. Cappelen Damm Akademisk/NOASP, 2020. http://dx.doi.org/10.23865/noasp.115.ch10.

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In this article, I take as my starting point an opinion that many share: it is difficult to talk about music (Barthes, 1977). This opinion is rooted in the romantic ideal of autonomy (Dahlhaus, 1994), leading to the emancipation of music from language (Neubauer, 1986). I discuss some aspects of this tension between language and music through close readings of the essays in Phantasien über die Kunst [Fantasies on Art] (1799/2000) by the Early German Romanticists Wilhelm Heinrich Wackenroder (1773–1798) and Ludwig Tieck (1773–1853). They emphasize music’s distinctive ability to convey various forms of transcendental experiences and insights that language falls short of. At the same time, their essays on music demonstrate an inner tension between a rich and literary experimental discourse discussing the limitation of language in relation to music’s transcendental meaning. In the essays in Phantasien, Wackenroder and Tieck constitute an innovative art-critical discourse that in many ways deals with art by making itself a work of art (Naumann, 1990). The literary-poetic approach to music exemplified in these essays changed the understanding of music itself, and enabled hearing music as an ideal for poetic language. I argue that the tension between language and music, as a historical legacy from the Romantic period, enables us to recognize language’s co-constitutive significance for our musical experience while at the same time making us attentive to language’s own musicality. The effort to say something about what we hear enriches and expands our linguistic involvement with music, as well as other parts of our lives.
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Stensæth, Karette, and Bjørn Kruse. "Nuets responsivitet – når det fremmede og det uperfekte setter premissen! Et filosofisk essay om musikalsk improvisasjon." In Musikkfilosofiske tekster. Tanker om musikk – og språk, tolkning, erfaring, tid, klang, stillhet m.m. Cappelen Damm Akademisk/NOASP, 2020. http://dx.doi.org/10.23865/noasp.115.ch15.

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As we improvise in music and become increasingly engrossed in the activity, we are intuitively engaged in a playful negotiation of various aesthetic possibilities in the Now. We are in a state where random impulses and irrational, unintentional actions become key premise providers along with everything we have learned through knowledge and experience. This essay reflects on the responsiveness of the Now in musical improvisation. We ask: What does the experience of the Now offer? Does it come with any kind of ethics and accountability and, if so, what kind and to whom does it apply? In our elaborations we are influenced by our own experiences of, and reflections on, compositional and music therapeutic practice. We refer to the theory of musical improvisation and early interaction, and also philosophical texts, especially those by Mikhail Bakhtin. We suggest that the responsiveness of the Now in musical improvisation is a mindset that challenges us both ethically and aesthetically. It does so by seeking creative satisfaction, joy and insight, taking shape through sensory perception that is close to intuition, mimesis and imagination. Its meaning remains unfinalised and foreign to us. It is also risky and is situated on the boundary between music and performer, between performer and other performers, and between the past and future of our actions. The ideal is to strive for a Now that can be experienced as the right now but also as a Now that suits the responses we try to find room for when we improvise.
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