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overflow: hidden; text-overflow: ellipsis; -webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">Musical Analysis</h1><div class="u-tcGrayDark">77,504 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Musical Analysis</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/Musical_Analysis">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Musical_Analysis/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Musical_Analysis/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Musical_Analysis/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Musical_Analysis">People</a></li></ul></div><style type="text/css">ul.nav{flex-direction:row}@media(max-width: 567px){ul.nav{flex-direction:column}.TabbedNavigation li{max-width:100%}.TabbedNavigation li.active{background-color:var(--background-grey, #dddde2)}.TabbedNavigation li.active:before,.TabbedNavigation li.active:after{display:none}}</style></div></div></div><div class="container"><div class="row"><div class="col-xs-12"><div class="u-displayFlex"><div class="u-flexGrow1"><div class="works"><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33742048" data-work_id="33742048" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33742048/La_Barcarolle_op_60_de_Chopin_esth%C3%A9tique_du_dernier_style_et_m%C3%A9taphore_de_l_apoth%C3%A9ose">La Barcarolle op. 60 de Chopin : esthétique du dernier style et métaphore de l’apothéose</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">La Barcarolle op. 60 de Chopin fait partie de la dernière période créatrice du compositeur, également appelée « dernier style ». Cette œuvre a suscité de très nombreuses interprétations dans la littérature musicologique, mais l’objet de... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33742048" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">La Barcarolle op. 60 de Chopin fait partie de la dernière période créatrice du compositeur, également appelée « dernier style ». Cette œuvre a suscité de très nombreuses interprétations dans la littérature musicologique, mais l’objet de cette communication est de proposer notre propre analyse, à la fois formelle et narrative, qui permettra de mettre en lumière certaines nouveautés stylistiques caractéristiques de cette période et d’expliquer les déviances formelles apparentes. Ce double-niveau analytique souhaite en effet investir les aspects techniques du discours musical (forme, tonalités, sections, cadences, harmonies, etc.) mais également son niveau expressif, à travers l’utilisation des topiques musicaux. L’étude de la succession de ces unités expressives permettra notamment d’éclaircir et d’expliquer le parcours de l’œuvre, qui se détache de la forme ternaire si chère au compositeur, avec un retour varié des deux thèmes principaux dans un style héroïque au sein de la dernière section, amenant un sentiment apothéotique. Il s’agit donc d’une stratégie narrative construite selon une concaténation particulière des unités du discours musical, une disposition de type téléologique qui amènera à cette apothéose finale, également retrouvée dans d’autres œuvres du corpus de la dernière période.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33742048" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="fc0dd106fcbf3d2ce9b4a816ccaaba04" rel="nofollow" data-download="{"attachment_id":53738361,"asset_id":33742048,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53738361/download_file?st=MTc0MDYzMTg0MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2515772" href="https://unistra.academia.edu/JulieWalker">Julie Moretto Walker</a><script data-card-contents-for-user="2515772" type="text/json">{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=170697","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}</script></span></span></li><li class="js-paper-rank-work_33742048 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33742048"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33742048, container: ".js-paper-rank-work_33742048", }); 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Cette œuvre a suscité de très nombreuses interprétations dans la littérature musicologique, mais l’objet de cette communication est de proposer notre propre analyse, à la fois formelle et narrative, qui permettra de mettre en lumière certaines nouveautés stylistiques caractéristiques de cette période et d’expliquer les déviances formelles apparentes. Ce double-niveau analytique souhaite en effet investir les aspects techniques du discours musical (forme, tonalités, sections, cadences, harmonies, etc.) mais également son niveau expressif, à travers l’utilisation des topiques musicaux. L’étude de la succession de ces unités expressives permettra notamment d’éclaircir et d’expliquer le parcours de l’œuvre, qui se détache de la forme ternaire si chère au compositeur, avec un retour varié des deux thèmes principaux dans un style héroïque au sein de la dernière section, amenant un sentiment apothéotique. Il s’agit donc d’une stratégie narrative construite selon une concaténation particulière des unités du discours musical, une disposition de type téléologique qui amènera à cette apothéose finale, également retrouvée dans d’autres œuvres du corpus de la dernière période.","downloadable_attachments":[{"id":53738361,"asset_id":33742048,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=170697","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}],"research_interests":[{"id":94,"name":"Discourse Analysis","url":"https://www.academia.edu/Documents/in/Discourse_Analysis?f_ri=170697","nofollow":true},{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=170697","nofollow":true},{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=170697","nofollow":true},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=170697","nofollow":true},{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=170697"},{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=170697"},{"id":139748,"name":"Frederic Chopin","url":"https://www.academia.edu/Documents/in/Frederic_Chopin?f_ri=170697"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_20713256" data-work_id="20713256" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/20713256/L_analyse_musicale_et_la_repr%C3%A9sentation_analytique_de_la_musique_acousmatique_Outils_m%C3%A9thodes_technologies">L’analyse musicale et la représentation analytique de la musique acousmatique. Outils, méthodes, technologies</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/20713256" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1ae3ace24148b69086cdf3c37be93bd8" rel="nofollow" data-download="{"attachment_id":41520569,"asset_id":20713256,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/41520569/download_file?st=MTc0MDYzMTg0MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4120072" href="https://univ-evry.academia.edu/PierreCouprie">Pierre Couprie</a><script data-card-contents-for-user="4120072" type="text/json">{"id":4120072,"first_name":"Pierre","last_name":"Couprie","domain_name":"univ-evry","page_name":"PierreCouprie","display_name":"Pierre Couprie","profile_url":"https://univ-evry.academia.edu/PierreCouprie?f_ri=170697","photo":"https://0.academia-photos.com/4120072/1595419/18645987/s65_pierre.couprie.jpg"}</script></span></span></li><li class="js-paper-rank-work_20713256 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="20713256"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 20713256, container: ".js-paper-rank-work_20713256", }); 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Rameau, beginning with the famous "Traité de l'Harmonie", and enlarged with several other books devoted to the harmonic theoretical thinking, in which he... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_31747047" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The paper proposes a survey through the essential theoretical contribution of J.P. Rameau, beginning with the famous "Traité de l'Harmonie", and enlarged with several other books devoted to the harmonic theoretical thinking, in which he evolves according to the scientific discoveries of the century.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31747047" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="40c0307ac5ff50f2679f88d8d2cfaa8d" rel="nofollow" data-download="{"attachment_id":52054576,"asset_id":31747047,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/52054576/download_file?st=MTc0MDYzMTg0MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="56822109" href="https://albeniz.academia.edu/EnriqueIgoa">Enrique Igoa</a><script data-card-contents-for-user="56822109" type="text/json">{"id":56822109,"first_name":"Enrique","last_name":"Igoa","domain_name":"albeniz","page_name":"EnriqueIgoa","display_name":"Enrique Igoa","profile_url":"https://albeniz.academia.edu/EnriqueIgoa?f_ri=170697","photo":"https://0.academia-photos.com/56822109/15024285/15757451/s65_enrique.igoa.jpg"}</script></span></span></li><li class="js-paper-rank-work_31747047 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31747047"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31747047, container: ".js-paper-rank-work_31747047", }); 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Rameau, beginning with the famous \"Traité de l'Harmonie\", and enlarged with several other books devoted to the harmonic theoretical thinking, in which he evolves according to the scientific discoveries of the century.","downloadable_attachments":[{"id":52054576,"asset_id":31747047,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":56822109,"first_name":"Enrique","last_name":"Igoa","domain_name":"albeniz","page_name":"EnriqueIgoa","display_name":"Enrique Igoa","profile_url":"https://albeniz.academia.edu/EnriqueIgoa?f_ri=170697","photo":"https://0.academia-photos.com/56822109/15024285/15757451/s65_enrique.igoa.jpg"}],"research_interests":[{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=170697","nofollow":true},{"id":40952,"name":"18th Century Music History","url":"https://www.academia.edu/Documents/in/18th_Century_Music_History?f_ri=170697","nofollow":true},{"id":88781,"name":"Harmony Search","url":"https://www.academia.edu/Documents/in/Harmony_Search?f_ri=170697","nofollow":true},{"id":118249,"name":"Harmony","url":"https://www.academia.edu/Documents/in/Harmony?f_ri=170697","nofollow":true},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697"},{"id":184630,"name":"Musical Theory","url":"https://www.academia.edu/Documents/in/Musical_Theory?f_ri=170697"},{"id":194332,"name":"Jean-Philippe Rameau","url":"https://www.academia.edu/Documents/in/Jean-Philippe_Rameau?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29909447" data-work_id="29909447" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29909447/Le_dernier_style_de_Chopin_Contexte_analyse_et_strat%C3%A9gies_narratives_des_oeuvres_tardives_Chopins_last_style_context_analysis_and_narrative_strategies_of_the_late_works_">Le dernier style de Chopin Contexte, analyse et stratégies narratives des oeuvres tardives [Chopin's last style: context, analysis and narrative strategies of the late works]</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This thesis focuses on a particular stylistic period of Frederic Chopin. The 1840s show an important evolution of Chopin’s musical language and correspond to an aesthetic turning point, characterized by a difficult historical and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29909447" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This thesis focuses on a particular stylistic period of Frederic Chopin. The 1840s show an important evolution of Chopin’s musical language and correspond to an aesthetic turning point, characterized by a difficult historical and biographical context. All along our research, we will try to build a transversal definition of Chopin’s last style by highlighting the recurrent characteristics of this period. In this purpose, a corpus of twenty-two works will be analyzed through several levels (traditional and formal, semiotic, narrative and thymic), to grasp all the issues of the last period of the polish composer.<br /><br />Cette thèse s’intéresse à une période stylistique particulière du compositeur Frédéric Chopin. Les années 1840 manifestent une évolution importante dans son langage musical et correspondent à un tournant esthétique marqué par un contexte historique et biographique difficile. Tout au long de ce travail, nous allons tenter d’ériger une définition transversale du « dernier style » de Chopin, en recherchant les éléments caractéristiques récurrents de cette période. Dans ce but, un corpus de vingt-deux oeuvres musicales sera analysé selon plusieurs niveaux (traditionnel et formel, sémiotique, narratif et thymique) afin de saisir tous les enjeux de la dernière période du compositeur polonais.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29909447" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5d3a1ff0bf5009973da83576fb1924ab" rel="nofollow" data-download="{"attachment_id":50371193,"asset_id":29909447,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/50371193/download_file?st=MTc0MDYzMTg0MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2515772" href="https://unistra.academia.edu/JulieWalker">Julie Moretto Walker</a><script data-card-contents-for-user="2515772" type="text/json">{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=170697","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}</script></span></span></li><li class="js-paper-rank-work_29909447 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29909447"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29909447, container: ".js-paper-rank-work_29909447", }); 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The 1840s show an important evolution of Chopin’s musical language and correspond to an aesthetic turning point, characterized by a difficult historical and biographical context. All along our research, we will try to build a transversal definition of Chopin’s last style by highlighting the recurrent characteristics of this period. In this purpose, a corpus of twenty-two works will be analyzed through several levels (traditional and formal, semiotic, narrative and thymic), to grasp all the issues of the last period of the polish composer.\n\nCette thèse s’intéresse à une période stylistique particulière du compositeur Frédéric Chopin. Les années 1840 manifestent une évolution importante dans son langage musical et correspondent à un tournant esthétique marqué par un contexte historique et biographique difficile. Tout au long de ce travail, nous allons tenter d’ériger une définition transversale du « dernier style » de Chopin, en recherchant les éléments caractéristiques récurrents de cette période. Dans ce but, un corpus de vingt-deux oeuvres musicales sera analysé selon plusieurs niveaux (traditionnel et formel, sémiotique, narratif et thymique) afin de saisir tous les enjeux de la dernière période du compositeur polonais.","downloadable_attachments":[{"id":50371193,"asset_id":29909447,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=170697","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=170697","nofollow":true},{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=170697","nofollow":true},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=170697","nofollow":true},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=170697","nofollow":true},{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=170697"},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=170697"},{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=170697"},{"id":10339,"name":"Semiotics of Music","url":"https://www.academia.edu/Documents/in/Semiotics_of_Music?f_ri=170697"},{"id":19818,"name":"Narrative Theory","url":"https://www.academia.edu/Documents/in/Narrative_Theory?f_ri=170697"},{"id":51195,"name":"Esthetics","url":"https://www.academia.edu/Documents/in/Esthetics?f_ri=170697"},{"id":89812,"name":"Topic theory","url":"https://www.academia.edu/Documents/in/Topic_theory?f_ri=170697"},{"id":139748,"name":"Frederic Chopin","url":"https://www.academia.edu/Documents/in/Frederic_Chopin?f_ri=170697"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697"},{"id":386642,"name":"Semiología Musical","url":"https://www.academia.edu/Documents/in/Semiologia_Musical?f_ri=170697"},{"id":436794,"name":"Chopin","url":"https://www.academia.edu/Documents/in/Chopin?f_ri=170697"},{"id":1822796,"name":"Chopin Studies","url":"https://www.academia.edu/Documents/in/Chopin_Studies?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_1945178" data-work_id="1945178" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" rel="nofollow" href="https://www.academia.edu/1945178/Chopin_s_last_style_Context_narrative_s_analysis_and_study_of_the_pianistic_interpretation">Chopin’s last style: Context, narrative’s analysis and study of the pianistic interpretation</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1945178" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2515772" href="https://unistra.academia.edu/JulieWalker">Julie Moretto Walker</a><script data-card-contents-for-user="2515772" type="text/json">{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=170697","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}</script></span></span></li><li class="js-paper-rank-work_1945178 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="1945178"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 1945178, container: ".js-paper-rank-work_1945178", }); 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These... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9525917" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper is about a methodology which wants to represent in an innovative way the musical work’s narrativity and expression according to the moments of tension and detente created by the relations between the different topics. These unities are characteristic figures coming from the historical and social musical legacy and refer to genres and musical styles (march, dances, hymn, etc.). In line with the publications of Robert Hatten, Eero Tarasti, Márta Grabócz and many others, our narrative analyses try to understand the stylistic evolution and the different strategies of Chopin’s compositions. The evolution and concatenation of the topics reveal different identities and itineraries called “narrative structures”. Three models emerge from our analyses: the “complex” structure, the “simple” structure and the and “non-contrasted” structure which characterized all the 21 pieces of our corpus, composed after 1841 and linked to the last style.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9525917" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6b5caf30c5c2e4d87ec4f90395d27ed3" rel="nofollow" data-download="{"attachment_id":35762524,"asset_id":9525917,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35762524/download_file?st=MTc0MDYzMTg0MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2515772" href="https://unistra.academia.edu/JulieWalker">Julie Moretto Walker</a><script data-card-contents-for-user="2515772" type="text/json">{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=170697","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}</script></span></span></li><li class="js-paper-rank-work_9525917 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9525917"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9525917, container: ".js-paper-rank-work_9525917", }); 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$(".js-view-count[data-work-id=9525917]").text(description); $(".js-view-count-work_9525917").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9525917").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="9525917"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1258" rel="nofollow" href="https://www.academia.edu/Documents/in/Romanticism">Romanticism</a>, <script data-card-contents-for-ri="1258" type="text/json">{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" rel="nofollow" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="14890" rel="nofollow" href="https://www.academia.edu/Documents/in/Musical_Semiotics">Musical Semiotics</a>, <script data-card-contents-for-ri="14890" type="text/json">{"id":14890,"name":"Musical Semiotics","url":"https://www.academia.edu/Documents/in/Musical_Semiotics?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="18880" rel="nofollow" href="https://www.academia.edu/Documents/in/Narrative_Analysis">Narrative Analysis</a><script data-card-contents-for-ri="18880" type="text/json">{"id":18880,"name":"Narrative Analysis","url":"https://www.academia.edu/Documents/in/Narrative_Analysis?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9525917]'), work: {"id":9525917,"title":" A new methodology for the narrative and thymic analysis in Chopin's last style","created_at":"2014-11-27T05:16:06.137-08:00","url":"https://www.academia.edu/9525917/A_new_methodology_for_the_narrative_and_thymic_analysis_in_Chopins_last_style?f_ri=170697","dom_id":"work_9525917","summary":"This paper is about a methodology which wants to represent in an innovative way the musical work’s narrativity and expression according to the moments of tension and detente created by the relations between the different topics. These unities are characteristic figures coming from the historical and social musical legacy and refer to genres and musical styles (march, dances, hymn, etc.). In line with the publications of Robert Hatten, Eero Tarasti, Márta Grabócz and many others, our narrative analyses try to understand the stylistic evolution and the different strategies of Chopin’s compositions. The evolution and concatenation of the topics reveal different identities and itineraries called “narrative structures”. Three models emerge from our analyses: the “complex” structure, the “simple” structure and the and “non-contrasted” structure which characterized all the 21 pieces of our corpus, composed after 1841 and linked to the last style.","downloadable_attachments":[{"id":35762524,"asset_id":9525917,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=170697","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}],"research_interests":[{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=170697","nofollow":true},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=170697","nofollow":true},{"id":14890,"name":"Musical Semiotics","url":"https://www.academia.edu/Documents/in/Musical_Semiotics?f_ri=170697","nofollow":true},{"id":18880,"name":"Narrative Analysis","url":"https://www.academia.edu/Documents/in/Narrative_Analysis?f_ri=170697","nofollow":true},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=170697"},{"id":139748,"name":"Frederic Chopin","url":"https://www.academia.edu/Documents/in/Frederic_Chopin?f_ri=170697"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697"},{"id":373896,"name":"Naratology","url":"https://www.academia.edu/Documents/in/Naratology?f_ri=170697"},{"id":829070,"name":"Musical Topics","url":"https://www.academia.edu/Documents/in/Musical_Topics?f_ri=170697"},{"id":957759,"name":"Tópico Musical","url":"https://www.academia.edu/Documents/in/Topico_Musical?f_ri=170697"},{"id":1199454,"name":"Tension","url":"https://www.academia.edu/Documents/in/Tension?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_24211841" data-work_id="24211841" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/24211841/A_typical_romantic_strategy_the_case_of_the_Fantasy_op_49">A typical romantic strategy: the case of the Fantasy op. 49</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Today I finished the Fantasy – and the sky is beautiful, there’s a sadness in my heart – but that’s alright. If it were otherwise, perhaps my existence would be worth nothing to anyone. (Letter to J. Fontana, 20th October 1841) Musical... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_24211841" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Today I finished the Fantasy – and the sky is beautiful, there’s a sadness in my heart – but that’s alright. If it were otherwise, perhaps my existence would be worth nothing to anyone.<br /> (Letter to J. Fontana, 20th October 1841)<br /><br />Musical narratology is an important item to highlight and understand the narrative strategies of musical works by the study of the concatenation of the expressive unities it contains. In the 19th century, the narrative strategy is often built as a “path which leads the listener from dysphoric elements till the transcendental level (euphoric) through several steps […]. This itinerary often corresponds to the coming-of-age novel or imaginary or initiatory journey […]” (Grabocz, 2009, p. 33). This is also possible in music by the choice of the protagonists, their relationships and their evolution into the musical piece. <br /> In our thesis, which focuses on Chopin’s last style, we study 21 works of the 1840’s to reach a definition of this late stylistic period. Among our corpus, the Fantasy op. 49 in F minor is particularly interesting. In fact, this piece was rather badly received by the contemporary critics, considering “a lack of unity and cohesion” according to Lenz while Schumann found it “full of genius traits, although the whole hasn’t felt to have being bound by a formal harmonious framework”.<br />However, we consider that this work is a very good illustration of a real mastery of the formal construction and the narrative strategy proposed by Chopin and revealed by the narrative analysis. Composed in the beginnings of the 40’s, two themes serve as a basis of all the progression: the first is dramatic and more and more powerful all along its repetitions which put us deeper into the dramaturgy. The second is more transitional, in an improvised style and presents two kinds of appearance, totally opposite, which carries the auditor into two different atmospheres. The interactions between these two protagonists will build the “plot” of the piece, anchored in this romantic aesthetic, as we will try to show it in our presentation. <br />This kind of narrative strategy will also be compared with other works of our corpus which present the same kind of strategy but also totally contrary, like the Ballade op. 52 in f minor whose analysis in our forthcoming paper "La Ballade op. 52: une « épopée dramatique ». Entre analyse formelle, narrative et thymique" noticed a totally inverse narrative strategy.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/24211841" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f86f01e947c1910f6b169854948bc6f3" rel="nofollow" data-download="{"attachment_id":44542338,"asset_id":24211841,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/44542338/download_file?st=MTc0MDYzMTg0MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2515772" href="https://unistra.academia.edu/JulieWalker">Julie Moretto Walker</a><script data-card-contents-for-user="2515772" type="text/json">{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=170697","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}</script></span></span></li><li class="js-paper-rank-work_24211841 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="24211841"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 24211841, container: ".js-paper-rank-work_24211841", }); 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$(".js-view-count[data-work-id=24211841]").text(description); $(".js-view-count-work_24211841").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_24211841").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="24211841"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">12</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="98" rel="nofollow" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="671" rel="nofollow" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="687" rel="nofollow" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1258" rel="nofollow" href="https://www.academia.edu/Documents/in/Romanticism">Romanticism</a><script data-card-contents-for-ri="1258" type="text/json">{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=24211841]'), work: {"id":24211841,"title":"A typical romantic strategy: the case of the Fantasy op. 49","created_at":"2016-04-08T08:48:14.030-07:00","url":"https://www.academia.edu/24211841/A_typical_romantic_strategy_the_case_of_the_Fantasy_op_49?f_ri=170697","dom_id":"work_24211841","summary":"Today I finished the Fantasy – and the sky is beautiful, there’s a sadness in my heart – but that’s alright. If it were otherwise, perhaps my existence would be worth nothing to anyone.\n (Letter to J. Fontana, 20th October 1841)\n\nMusical narratology is an important item to highlight and understand the narrative strategies of musical works by the study of the concatenation of the expressive unities it contains. In the 19th century, the narrative strategy is often built as a “path which leads the listener from dysphoric elements till the transcendental level (euphoric) through several steps […]. This itinerary often corresponds to the coming-of-age novel or imaginary or initiatory journey […]” (Grabocz, 2009, p. 33). This is also possible in music by the choice of the protagonists, their relationships and their evolution into the musical piece. \n In our thesis, which focuses on Chopin’s last style, we study 21 works of the 1840’s to reach a definition of this late stylistic period. Among our corpus, the Fantasy op. 49 in F minor is particularly interesting. In fact, this piece was rather badly received by the contemporary critics, considering “a lack of unity and cohesion” according to Lenz while Schumann found it “full of genius traits, although the whole hasn’t felt to have being bound by a formal harmonious framework”.\nHowever, we consider that this work is a very good illustration of a real mastery of the formal construction and the narrative strategy proposed by Chopin and revealed by the narrative analysis. Composed in the beginnings of the 40’s, two themes serve as a basis of all the progression: the first is dramatic and more and more powerful all along its repetitions which put us deeper into the dramaturgy. The second is more transitional, in an improvised style and presents two kinds of appearance, totally opposite, which carries the auditor into two different atmospheres. The interactions between these two protagonists will build the “plot” of the piece, anchored in this romantic aesthetic, as we will try to show it in our presentation. \nThis kind of narrative strategy will also be compared with other works of our corpus which present the same kind of strategy but also totally contrary, like the Ballade op. 52 in f minor whose analysis in our forthcoming paper \"La Ballade op. 52: une « épopée dramatique ». Entre analyse formelle, narrative et thymique\" noticed a totally inverse narrative strategy. \n\n","downloadable_attachments":[{"id":44542338,"asset_id":24211841,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=170697","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=170697","nofollow":true},{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=170697","nofollow":true},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=170697","nofollow":true},{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=170697","nofollow":true},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=170697"},{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=170697"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=170697"},{"id":139748,"name":"Frederic Chopin","url":"https://www.academia.edu/Documents/in/Frederic_Chopin?f_ri=170697"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697"},{"id":207891,"name":"Fantasia","url":"https://www.academia.edu/Documents/in/Fantasia?f_ri=170697"},{"id":436794,"name":"Chopin","url":"https://www.academia.edu/Documents/in/Chopin?f_ri=170697"},{"id":1822796,"name":"Chopin Studies","url":"https://www.academia.edu/Documents/in/Chopin_Studies?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_30937951 coauthored" data-work_id="30937951" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/30937951/Karlheinz_Stockhausen_Sulla_musica">Karlheinz Stockhausen. Sulla musica</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">tratto da "Karlheinz Stockhausen. Sulla musica" a cura di Robin Maconie, introduzione di Massimiliano Viel postmedia books 2014, isbn 9788874901142 Nel 1971 Stockhausen arrivò in Inghilterra per una serie di concerti pubblici e di... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30937951" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">tratto da<br />"Karlheinz Stockhausen. Sulla musica"<br />a cura di Robin Maconie, introduzione di Massimiliano Viel<br />postmedia books 2014, isbn 9788874901142<br /><br />Nel 1971 Stockhausen arrivò in Inghilterra per una serie di concerti pubblici e di conferenze. Era di umore allegro e comunicativo. Le sue conferenze furono un notevole successo poiché trattavano di fronte a un pubblico sostanzialmente di non specialisti argomenti della musica contemporanea che erano estremamente complessi e fino ad allora ritenuti esoterici, con un linguaggio da profani...</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30937951" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="13c73e4ea61308aff78ec7a868da3646" rel="nofollow" data-download="{"attachment_id":51366350,"asset_id":30937951,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51366350/download_file?st=MTc0MDYzMTg0MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="220610" href="https://independent.academia.edu/GianniRomano">Gianni Romano</a><script data-card-contents-for-user="220610" type="text/json">{"id":220610,"first_name":"Gianni","last_name":"Romano","domain_name":"independent","page_name":"GianniRomano","display_name":"Gianni Romano","profile_url":"https://independent.academia.edu/GianniRomano?f_ri=170697","photo":"https://0.academia-photos.com/220610/49906/15910521/s65_gianni.romano.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-30937951">+1</span><div class="hidden js-additional-users-30937951"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://consmilano.academia.edu/MassimilianoViel">Massimiliano Viel</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-30937951'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-30937951').html(); 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Sulla musica","created_at":"2017-01-15T13:32:41.477-08:00","url":"https://www.academia.edu/30937951/Karlheinz_Stockhausen_Sulla_musica?f_ri=170697","dom_id":"work_30937951","summary":"tratto da\n\"Karlheinz Stockhausen. Sulla musica\"\na cura di Robin Maconie, introduzione di Massimiliano Viel\npostmedia books 2014, isbn 9788874901142\n\nNel 1971 Stockhausen arrivò in Inghilterra per una serie di concerti pubblici e di conferenze. Era di umore allegro e comunicativo. Le sue conferenze furono un notevole successo poiché trattavano di fronte a un pubblico sostanzialmente di non specialisti argomenti della musica contemporanea che erano estremamente complessi e fino ad allora ritenuti esoterici, con un linguaggio da profani...","downloadable_attachments":[{"id":51366350,"asset_id":30937951,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":220610,"first_name":"Gianni","last_name":"Romano","domain_name":"independent","page_name":"GianniRomano","display_name":"Gianni Romano","profile_url":"https://independent.academia.edu/GianniRomano?f_ri=170697","photo":"https://0.academia-photos.com/220610/49906/15910521/s65_gianni.romano.jpg"},{"id":719045,"first_name":"Massimiliano","last_name":"Viel","domain_name":"consmilano","page_name":"MassimilianoViel","display_name":"Massimiliano Viel","profile_url":"https://consmilano.academia.edu/MassimilianoViel?f_ri=170697","photo":"https://gravatar.com/avatar/cf1cb700d495dac634204d01f1065e67?s=65"}],"research_interests":[{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=170697","nofollow":true},{"id":76619,"name":"Karlheinz Stockhausen","url":"https://www.academia.edu/Documents/in/Karlheinz_Stockhausen?f_ri=170697","nofollow":true},{"id":103417,"name":"Lecture","url":"https://www.academia.edu/Documents/in/Lecture?f_ri=170697","nofollow":true},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true},{"id":228085,"name":"Stockhausen","url":"https://www.academia.edu/Documents/in/Stockhausen?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40589577" data-work_id="40589577" 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class="u-tcGrayDark u-fw700" data-has-card-for-user="2515772" href="https://unistra.academia.edu/JulieWalker">Julie Moretto Walker</a><script data-card-contents-for-user="2515772" type="text/json">{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=170697","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}</script></span></span></li><li class="js-paper-rank-work_8030851 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8030851"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8030851, container: ".js-paper-rank-work_8030851", }); });</script></li><li class="js-percentile-work_8030851 InlineList-item InlineList-item--bordered 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href="https://www.academia.edu/Documents/in/Research_Methodology">Research Methodology</a>, <script data-card-contents-for-ri="2065" type="text/json">{"id":2065,"name":"Research Methodology","url":"https://www.academia.edu/Documents/in/Research_Methodology?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" rel="nofollow" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="139748" rel="nofollow" href="https://www.academia.edu/Documents/in/Frederic_Chopin">Frederic Chopin</a><script data-card-contents-for-ri="139748" type="text/json">{"id":139748,"name":"Frederic 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itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37998026/_The_Americanization_of_Arnold_Schoenberg_Theory_Analysis_and_Reception_Zeitschrift_der_Gesellschaft_f%C3%BCr_Musiktheorie_15_2_2018_155_75">"The Americanization of Arnold Schoenberg? Theory, Analysis, and Reception," Zeitschrift der Gesellschaft für Musiktheorie 15/2 (2018): 155-75.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This article surveys the reception of Arnold Schoenberg's theoretical ideas in English-language music theory, with a primary (though not exclusive) focus on their reception in the United States. William Rothstein has chronicled how... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37998026" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article surveys the reception of Arnold Schoenberg's theoretical ideas in English-language music theory, with a primary (though not exclusive) focus on their reception in the United States. William Rothstein has chronicled how Heinrich Schenker's ideas were modified to conform to the American music-theoretical discourse ("Americanization"). The question then arises: Were Schoenberg's theoretical ideas also similarly modified? After a preliminary overview of the availability of Schoenberg's theoretical writing in English translation, four topics in Schoenberg's thought are traced, with a focus on the postwar era: 1) harmony; 2) form; 3) thematic and motivic transformation ; and 4) aesthetics. The American reception of Schoenberg's theoretical ideas has tended to focus on the music-technical dimension of his theoretical texts and has, to a significant extent, ignored the more philosophical and aesthetic aspects of his thought. It has tended to place emphasis on how music is structured and how that structure is unified; there has been less concern with why such unity is important in a broader sense. Dieser Aufsatz gibt einen Überblick über die Rezeption von Arnold Schönbergs theoretischem Denken in der englischsprachigen Musiktheorie, wobei der Fokus, wenn auch nicht ausschließ-lich, auf der Rezeption in den Vereinigten Staaten liegt. William Rothstein hat dargestellt wie Heinrich Schenkers Theorie im Zuge einer Anpassung an den amerikanischen musiktheoretischen Diskurs modifiziert wurde (»Americanization«). Dies legt die Frage nahe, ob auch Schönbergs theoretisches Denken in ähnlicher Weise modifiziert worden ist. Nach einer einführenden Über-sicht über die Verfügbarkeit von Schönbergs Schriften in englischen Übersetzungen werden vier Themenbereiche von Schönbergs Denken in der anglophonen Musiktheorie verfolgt, wobei der Schwerpunkt auf der Nachkriegszeit liegt: 1) Harmonik; 2) Form; 3) thematische und motivische Transformation; 4) Ästhetik. Die amerikanische Rezeption von Schönbergs Theorien tendierte dazu, die technischen Aspekte in seinen Schriften herauszuheben, und vernachlässigte dabei in einem signifikanten Ausmaß die stärker philosophischen und ästhetischen Aspekte seines Den-kens. Die Schönberg-Rezeption in den USA hat also ein starkes Gewicht auf Fragen musikalischer Struktur und struktureller Einheit gelegt; weniger wurde hingegen danach gefragt, warum eine solche Einheit in einem umfassenderen Sinn erstrebenswert ist. In his 1986 article entitled "The Americanization of Heinrich Schenker," William Roth-stein explores the development of Schenkerian theory and analysis in North America in the decades following the Second World War. Reflecting on how Schenker's ideas had been absorbed, disseminated, and, to a certain extent, adapted by the English-speaking academic community in the United States, Rothstein remarks: 1 I would like to thank Severine Neff and Jonathan Dunsby for reading an earlier version of this article and offering useful comments. I would also like to thank the editors of the journal and the anonymous readers for their valuable feedback and suggestions.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37998026" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0d147fa649b0959d46c2d9c24b590b65" rel="nofollow" data-download="{"attachment_id":58017361,"asset_id":37998026,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58017361/download_file?st=MTc0MDYzMTg0MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5080019" href="https://rochester.academia.edu/JohnCovach">John Covach</a><script data-card-contents-for-user="5080019" type="text/json">{"id":5080019,"first_name":"John","last_name":"Covach","domain_name":"rochester","page_name":"JohnCovach","display_name":"John Covach","profile_url":"https://rochester.academia.edu/JohnCovach?f_ri=170697","photo":"https://0.academia-photos.com/5080019/3833500/99455055/s65_john.covach.jpeg"}</script></span></span></li><li class="js-paper-rank-work_37998026 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37998026"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37998026, container: ".js-paper-rank-work_37998026", }); 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$(".js-view-count[data-work-id=37998026]").text(description); $(".js-view-count-work_37998026").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37998026").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37998026"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="685" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="28879" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_analysis">Music analysis</a>, <script data-card-contents-for-ri="28879" type="text/json">{"id":28879,"name":"Music analysis","url":"https://www.academia.edu/Documents/in/Music_analysis?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="48316" rel="nofollow" href="https://www.academia.edu/Documents/in/Arnold_Schoenberg">Arnold Schoenberg</a>, <script data-card-contents-for-ri="48316" type="text/json">{"id":48316,"name":"Arnold Schoenberg","url":"https://www.academia.edu/Documents/in/Arnold_Schoenberg?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="170697" rel="nofollow" href="https://www.academia.edu/Documents/in/Musical_Analysis">Musical Analysis</a><script data-card-contents-for-ri="170697" type="text/json">{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37998026]'), work: {"id":37998026,"title":"\"The Americanization of Arnold Schoenberg? Theory, Analysis, and Reception,\" Zeitschrift der Gesellschaft für Musiktheorie 15/2 (2018): 155-75.","created_at":"2018-12-17T18:00:12.940-08:00","url":"https://www.academia.edu/37998026/_The_Americanization_of_Arnold_Schoenberg_Theory_Analysis_and_Reception_Zeitschrift_der_Gesellschaft_f%C3%BCr_Musiktheorie_15_2_2018_155_75?f_ri=170697","dom_id":"work_37998026","summary":"This article surveys the reception of Arnold Schoenberg's theoretical ideas in English-language music theory, with a primary (though not exclusive) focus on their reception in the United States. William Rothstein has chronicled how Heinrich Schenker's ideas were modified to conform to the American music-theoretical discourse (\"Americanization\"). The question then arises: Were Schoenberg's theoretical ideas also similarly modified? After a preliminary overview of the availability of Schoenberg's theoretical writing in English translation, four topics in Schoenberg's thought are traced, with a focus on the postwar era: 1) harmony; 2) form; 3) thematic and motivic transformation ; and 4) aesthetics. The American reception of Schoenberg's theoretical ideas has tended to focus on the music-technical dimension of his theoretical texts and has, to a significant extent, ignored the more philosophical and aesthetic aspects of his thought. It has tended to place emphasis on how music is structured and how that structure is unified; there has been less concern with why such unity is important in a broader sense. Dieser Aufsatz gibt einen Überblick über die Rezeption von Arnold Schönbergs theoretischem Denken in der englischsprachigen Musiktheorie, wobei der Fokus, wenn auch nicht ausschließ-lich, auf der Rezeption in den Vereinigten Staaten liegt. William Rothstein hat dargestellt wie Heinrich Schenkers Theorie im Zuge einer Anpassung an den amerikanischen musiktheoretischen Diskurs modifiziert wurde (»Americanization«). Dies legt die Frage nahe, ob auch Schönbergs theoretisches Denken in ähnlicher Weise modifiziert worden ist. Nach einer einführenden Über-sicht über die Verfügbarkeit von Schönbergs Schriften in englischen Übersetzungen werden vier Themenbereiche von Schönbergs Denken in der anglophonen Musiktheorie verfolgt, wobei der Schwerpunkt auf der Nachkriegszeit liegt: 1) Harmonik; 2) Form; 3) thematische und motivische Transformation; 4) Ästhetik. Die amerikanische Rezeption von Schönbergs Theorien tendierte dazu, die technischen Aspekte in seinen Schriften herauszuheben, und vernachlässigte dabei in einem signifikanten Ausmaß die stärker philosophischen und ästhetischen Aspekte seines Den-kens. Die Schönberg-Rezeption in den USA hat also ein starkes Gewicht auf Fragen musikalischer Struktur und struktureller Einheit gelegt; weniger wurde hingegen danach gefragt, warum eine solche Einheit in einem umfassenderen Sinn erstrebenswert ist. In his 1986 article entitled \"The Americanization of Heinrich Schenker,\" William Roth-stein explores the development of Schenkerian theory and analysis in North America in the decades following the Second World War. Reflecting on how Schenker's ideas had been absorbed, disseminated, and, to a certain extent, adapted by the English-speaking academic community in the United States, Rothstein remarks: 1 I would like to thank Severine Neff and Jonathan Dunsby for reading an earlier version of this article and offering useful comments. I would also like to thank the editors of the journal and the anonymous readers for their valuable feedback and suggestions.","downloadable_attachments":[{"id":58017361,"asset_id":37998026,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5080019,"first_name":"John","last_name":"Covach","domain_name":"rochester","page_name":"JohnCovach","display_name":"John Covach","profile_url":"https://rochester.academia.edu/JohnCovach?f_ri=170697","photo":"https://0.academia-photos.com/5080019/3833500/99455055/s65_john.covach.jpeg"}],"research_interests":[{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=170697","nofollow":true},{"id":28879,"name":"Music analysis","url":"https://www.academia.edu/Documents/in/Music_analysis?f_ri=170697","nofollow":true},{"id":48316,"name":"Arnold Schoenberg","url":"https://www.academia.edu/Documents/in/Arnold_Schoenberg?f_ri=170697","nofollow":true},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_6449806" data-work_id="6449806" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/6449806/Lost_in_Scales_Balkan_Folk_Music_Research_and_the_Ottoman_Legacy">Lost in Scales: Balkan Folk Music Research and the Ottoman Legacy</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/6449806" data-share-source="work_strip" 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itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6580528" href="https://uniarts.academia.edu/RistoPekkaPennanen">Risto Pekka PENNANEN</a><script data-card-contents-for-user="6580528" type="text/json">{"id":6580528,"first_name":"Risto Pekka","last_name":"PENNANEN","domain_name":"uniarts","page_name":"RistoPekkaPennanen","display_name":"Risto Pekka PENNANEN","profile_url":"https://uniarts.academia.edu/RistoPekkaPennanen?f_ri=170697","photo":"https://0.academia-photos.com/6580528/2943608/9339057/s65_risto_pekka.pennanen.jpg"}</script></span></span></li><li class="js-paper-rank-work_6449806 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="6449806"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 6449806, container: 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type="text/json">{"id":1987,"name":"Ethnomusicology","url":"https://www.academia.edu/Documents/in/Ethnomusicology?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3337" rel="nofollow" href="https://www.academia.edu/Documents/in/Balkan_Studies">Balkan Studies</a>, <script data-card-contents-for-ri="3337" type="text/json">{"id":3337,"name":"Balkan Studies","url":"https://www.academia.edu/Documents/in/Balkan_Studies?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5037" rel="nofollow" href="https://www.academia.edu/Documents/in/Historical_Ethnomusicology">Historical Ethnomusicology</a>, <script data-card-contents-for-ri="5037" type="text/json">{"id":5037,"name":"Historical Ethnomusicology","url":"https://www.academia.edu/Documents/in/Historical_Ethnomusicology?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="25068" rel="nofollow" href="https://www.academia.edu/Documents/in/Critical_Musicology">Critical Musicology</a><script data-card-contents-for-ri="25068" type="text/json">{"id":25068,"name":"Critical Musicology","url":"https://www.academia.edu/Documents/in/Critical_Musicology?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=6449806]'), work: {"id":6449806,"title":"Lost in Scales: Balkan Folk Music Research and the Ottoman Legacy","created_at":"2014-03-17T16:14:22.114-07:00","url":"https://www.academia.edu/6449806/Lost_in_Scales_Balkan_Folk_Music_Research_and_the_Ottoman_Legacy?f_ri=170697","dom_id":"work_6449806","summary":null,"downloadable_attachments":[{"id":33243979,"asset_id":6449806,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6580528,"first_name":"Risto Pekka","last_name":"PENNANEN","domain_name":"uniarts","page_name":"RistoPekkaPennanen","display_name":"Risto Pekka PENNANEN","profile_url":"https://uniarts.academia.edu/RistoPekkaPennanen?f_ri=170697","photo":"https://0.academia-photos.com/6580528/2943608/9339057/s65_risto_pekka.pennanen.jpg"}],"research_interests":[{"id":1987,"name":"Ethnomusicology","url":"https://www.academia.edu/Documents/in/Ethnomusicology?f_ri=170697","nofollow":true},{"id":3337,"name":"Balkan Studies","url":"https://www.academia.edu/Documents/in/Balkan_Studies?f_ri=170697","nofollow":true},{"id":5037,"name":"Historical Ethnomusicology","url":"https://www.academia.edu/Documents/in/Historical_Ethnomusicology?f_ri=170697","nofollow":true},{"id":25068,"name":"Critical Musicology","url":"https://www.academia.edu/Documents/in/Critical_Musicology?f_ri=170697","nofollow":true},{"id":28879,"name":"Music analysis","url":"https://www.academia.edu/Documents/in/Music_analysis?f_ri=170697"},{"id":51334,"name":"Orientalism","url":"https://www.academia.edu/Documents/in/Orientalism?f_ri=170697"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697"},{"id":208938,"name":"Balkan musical folklore","url":"https://www.academia.edu/Documents/in/Balkan_musical_folklore?f_ri=170697"},{"id":505378,"name":"Makam","url":"https://www.academia.edu/Documents/in/Makam?f_ri=170697"},{"id":592191,"name":"Turkish makam maqam classical music","url":"https://www.academia.edu/Documents/in/Turkish_makam_maqam_classical_music?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39730753" data-work_id="39730753" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39730753/Schoenberg_Schenker_Bach_A_Harmonic_Contrapuntal_Formal_Braid">Schoenberg—Schenker—Bach: A Harmonic, Contrapuntal, Formal Braid</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This article follows on the heels of one by Holly Watkins, who argues that music, “a subsystem of the social system of communication,” can evoke the organic (the bodily and the psychic) not by forming a self-contained unity of parts and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39730753" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article follows on the heels of one by Holly Watkins, who argues that music, “a subsystem of the social system of communication,” can evoke the organic (the bodily and the psychic) not by forming a self-contained unity of parts and whole but through the “internal recursiveness” of musical works, their external “recursiveness vis-à-vis other music,” and – crucially – “the knowingness that music displays toward its own operations.” I adopt the premise that music evokes the organic most vividly not through recursive processes in individual systems but through the as-if intentional integration of such processes in multiple systems, of which I concern myself particularly with the harmonic, contrapuntal, and formal domains (or, more precisely, the motivic). I offer correctives to the organicist theories of Arnold Schoenberg and Heinrich Schenker, which similarly concern these domains, and especially to their reception. And I explore this direction through an analysis of Bach’s Prelude No. 7 in E-flat major from book 1 of The Well-Tempered Clavier, BWV 852, a singular piece that billows forth like an unfathomable blossom.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39730753" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="50879c9a66b70b12fee177beefe6e98e" rel="nofollow" data-download="{"attachment_id":60681856,"asset_id":39730753,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60681856/download_file?st=MTc0MDYzMTg0MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3861496" href="https://uiowa.academia.edu/MatthewArndt">Matthew Arndt</a><script data-card-contents-for-user="3861496" type="text/json">{"id":3861496,"first_name":"Matthew","last_name":"Arndt","domain_name":"uiowa","page_name":"MatthewArndt","display_name":"Matthew Arndt","profile_url":"https://uiowa.academia.edu/MatthewArndt?f_ri=170697","photo":"https://0.academia-photos.com/3861496/1419670/19857465/s65_matthew.arndt.jpg"}</script></span></span></li><li class="js-paper-rank-work_39730753 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39730753"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39730753, container: ".js-paper-rank-work_39730753", }); 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$(".js-view-count[data-work-id=39730753]").text(description); $(".js-view-count-work_39730753").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39730753").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39730753"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">19</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="671" rel="nofollow" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="687" rel="nofollow" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1068" rel="nofollow" href="https://www.academia.edu/Documents/in/Schenkerian_Analysis">Schenkerian Analysis</a>, <script data-card-contents-for-ri="1068" type="text/json">{"id":1068,"name":"Schenkerian Analysis","url":"https://www.academia.edu/Documents/in/Schenkerian_Analysis?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="7084" rel="nofollow" href="https://www.academia.edu/Documents/in/Luhmann">Luhmann</a><script data-card-contents-for-ri="7084" type="text/json">{"id":7084,"name":"Luhmann","url":"https://www.academia.edu/Documents/in/Luhmann?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39730753]'), work: {"id":39730753,"title":"Schoenberg—Schenker—Bach: A Harmonic, Contrapuntal, Formal Braid","created_at":"2019-07-01T14:14:17.465-07:00","url":"https://www.academia.edu/39730753/Schoenberg_Schenker_Bach_A_Harmonic_Contrapuntal_Formal_Braid?f_ri=170697","dom_id":"work_39730753","summary":"This article follows on the heels of one by Holly Watkins, who argues that music, “a subsystem of the social system of communication,” can evoke the organic (the bodily and the psychic) not by forming a self-contained unity of parts and whole but through the “internal recursiveness” of musical works, their external “recursiveness vis-à-vis other music,” and – crucially – “the knowingness that music displays toward its own operations.” I adopt the premise that music evokes the organic most vividly not through recursive processes in individual systems but through the as-if intentional integration of such processes in multiple systems, of which I concern myself particularly with the harmonic, contrapuntal, and formal domains (or, more precisely, the motivic). I offer correctives to the organicist theories of Arnold Schoenberg and Heinrich Schenker, which similarly concern these domains, and especially to their reception. And I explore this direction through an analysis of Bach’s Prelude No. 7 in E-flat major from book 1 of The Well-Tempered Clavier, BWV 852, a singular piece that billows forth like an unfathomable blossom.","downloadable_attachments":[{"id":60681856,"asset_id":39730753,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3861496,"first_name":"Matthew","last_name":"Arndt","domain_name":"uiowa","page_name":"MatthewArndt","display_name":"Matthew Arndt","profile_url":"https://uiowa.academia.edu/MatthewArndt?f_ri=170697","photo":"https://0.academia-photos.com/3861496/1419670/19857465/s65_matthew.arndt.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=170697","nofollow":true},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=170697","nofollow":true},{"id":1068,"name":"Schenkerian Analysis","url":"https://www.academia.edu/Documents/in/Schenkerian_Analysis?f_ri=170697","nofollow":true},{"id":7084,"name":"Luhmann","url":"https://www.academia.edu/Documents/in/Luhmann?f_ri=170697","nofollow":true},{"id":9722,"name":"Music Criticism","url":"https://www.academia.edu/Documents/in/Music_Criticism?f_ri=170697"},{"id":25772,"name":"Musical Form","url":"https://www.academia.edu/Documents/in/Musical_Form?f_ri=170697"},{"id":27259,"name":"Niklas Luhmann","url":"https://www.academia.edu/Documents/in/Niklas_Luhmann?f_ri=170697"},{"id":28879,"name":"Music analysis","url":"https://www.academia.edu/Documents/in/Music_analysis?f_ri=170697"},{"id":48316,"name":"Arnold Schoenberg","url":"https://www.academia.edu/Documents/in/Arnold_Schoenberg?f_ri=170697"},{"id":48842,"name":"Music and Gesture","url":"https://www.academia.edu/Documents/in/Music_and_Gesture?f_ri=170697"},{"id":58612,"name":"Johann Sebastian Bach","url":"https://www.academia.edu/Documents/in/Johann_Sebastian_Bach?f_ri=170697"},{"id":85618,"name":"Theory of Harmony","url":"https://www.academia.edu/Documents/in/Theory_of_Harmony?f_ri=170697"},{"id":118249,"name":"Harmony","url":"https://www.academia.edu/Documents/in/Harmony?f_ri=170697"},{"id":148080,"name":"Organicism","url":"https://www.academia.edu/Documents/in/Organicism?f_ri=170697"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697"},{"id":180138,"name":"Heinrich Schenker","url":"https://www.academia.edu/Documents/in/Heinrich_Schenker?f_ri=170697"},{"id":180515,"name":"Counterpoint","url":"https://www.academia.edu/Documents/in/Counterpoint?f_ri=170697"},{"id":2567795,"name":"Motivic Analysis","url":"https://www.academia.edu/Documents/in/Motivic_Analysis?f_ri=170697"},{"id":2992080,"name":"Musical Idea","url":"https://www.academia.edu/Documents/in/Musical_Idea?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_16255119" data-work_id="16255119" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/16255119/La_Polonaise_op_53_comme_manifeste_du_dernier_style_de_Chopin">La Polonaise op. 53 comme manifeste du dernier style de Chopin</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Cet article propose une étude approfondie de la Polonaise en la bémol majeur op. 53 de Chopin afin de mettre en avant des caractéristiques essentielles du dernier style de Chopin, qui s'exprime dans les années 1840, période difficile... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_16255119" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Cet article propose une étude approfondie de la Polonaise en la bémol majeur op. 53 de Chopin afin de mettre en avant des caractéristiques essentielles du dernier style de Chopin, qui s'exprime dans les années 1840, période difficile avant son décès. La Polonaise "héroïque", investie de manière plus traditionnelle mais également par le biais d'une approche plus narrative met en avant une évolution de la forme tripartite, déjà amorcée dans la Polonaise op. 44 et qui aboutira également à la forme téléologique de la Polonaise Fantaisie op .61 qui clot ce répertoire. En effet, l'usage des topiques et de leur concaténation sont particulièrement intéréssants pour comprendre une part de l'évolution stylistique du compositeur dans les dernières années.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/16255119" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="631f6f5e70c5a93b95b014a8186ba683" rel="nofollow" data-download="{"attachment_id":38913028,"asset_id":16255119,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38913028/download_file?st=MTc0MDYzMTg0MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2515772" href="https://unistra.academia.edu/JulieWalker">Julie Moretto Walker</a><script data-card-contents-for-user="2515772" type="text/json">{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=170697","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}</script></span></span></li><li class="js-paper-rank-work_16255119 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="16255119"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 16255119, container: ".js-paper-rank-work_16255119", }); 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$(".js-view-count[data-work-id=16255119]").text(description); $(".js-view-count-work_16255119").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_16255119").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="16255119"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">15</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="98" rel="nofollow" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="671" rel="nofollow" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="687" rel="nofollow" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1258" rel="nofollow" href="https://www.academia.edu/Documents/in/Romanticism">Romanticism</a><script data-card-contents-for-ri="1258" type="text/json">{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=16255119]'), work: {"id":16255119,"title":"La Polonaise op. 53 comme manifeste du dernier style de Chopin","created_at":"2015-09-28T01:06:40.742-07:00","url":"https://www.academia.edu/16255119/La_Polonaise_op_53_comme_manifeste_du_dernier_style_de_Chopin?f_ri=170697","dom_id":"work_16255119","summary":"Cet article propose une étude approfondie de la Polonaise en la bémol majeur op. 53 de Chopin afin de mettre en avant des caractéristiques essentielles du dernier style de Chopin, qui s'exprime dans les années 1840, période difficile avant son décès. La Polonaise \"héroïque\", investie de manière plus traditionnelle mais également par le biais d'une approche plus narrative met en avant une évolution de la forme tripartite, déjà amorcée dans la Polonaise op. 44 et qui aboutira également à la forme téléologique de la Polonaise Fantaisie op .61 qui clot ce répertoire. En effet, l'usage des topiques et de leur concaténation sont particulièrement intéréssants pour comprendre une part de l'évolution stylistique du compositeur dans les dernières années.","downloadable_attachments":[{"id":38913028,"asset_id":16255119,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=170697","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=170697","nofollow":true},{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=170697","nofollow":true},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=170697","nofollow":true},{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=170697","nofollow":true},{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=170697"},{"id":28879,"name":"Music analysis","url":"https://www.academia.edu/Documents/in/Music_analysis?f_ri=170697"},{"id":29586,"name":"Semiology of the work of art","url":"https://www.academia.edu/Documents/in/Semiology_of_the_work_of_art?f_ri=170697"},{"id":66846,"name":"Late Style","url":"https://www.academia.edu/Documents/in/Late_Style?f_ri=170697"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=170697"},{"id":139748,"name":"Frederic Chopin","url":"https://www.academia.edu/Documents/in/Frederic_Chopin?f_ri=170697"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697"},{"id":436794,"name":"Chopin","url":"https://www.academia.edu/Documents/in/Chopin?f_ri=170697"},{"id":749303,"name":"Analyse Musicale","url":"https://www.academia.edu/Documents/in/Analyse_Musicale?f_ri=170697"},{"id":1255994,"name":"Music Styles","url":"https://www.academia.edu/Documents/in/Music_Styles?f_ri=170697"},{"id":1532875,"name":"Polonaise","url":"https://www.academia.edu/Documents/in/Polonaise?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div 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href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="170697" rel="nofollow" href="https://www.academia.edu/Documents/in/Musical_Analysis">Musical Analysis</a><script data-card-contents-for-ri="170697" type="text/json">{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=42014752]'), work: {"id":42014752,"title":"Musica Theorica – Revista da Associação Brasileira de Teoria e Análise Musical -TeMA Journal of the Brazilian Society for Music Theory and Analysis Volume 4 · número 2 · agosto a dezembro de 2019","created_at":"2020-02-19T02:51:27.679-08:00","url":"https://www.academia.edu/42014752/Musica_Theorica_Revista_da_Associa%C3%A7%C3%A3o_Brasileira_de_Teoria_e_An%C3%A1lise_Musical_TeMA_Journal_of_the_Brazilian_Society_for_Music_Theory_and_Analysis_Volume_4_n%C3%BAmero_2_agosto_a_dezembro_de_2019?f_ri=170697","dom_id":"work_42014752","summary":null,"downloadable_attachments":[{"id":62139329,"asset_id":42014752,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":145001421,"first_name":"Musica","last_name":"Theorica","domain_name":"independent","page_name":"MusicaTheorica","display_name":"Musica Theorica","profile_url":"https://independent.academia.edu/MusicaTheorica?f_ri=170697","photo":"https://0.academia-photos.com/145001421/39598928/32713856/s65_musica.theorica.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=170697","nofollow":true},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_41898879" data-work_id="41898879" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/41898879/Musica_Theorica_Revista_da_Associac_a_o_Brasileira_de_Teoria_e_Ana_lise_Musical_TeMA_Journal_of_the_Brazilian_Society_for_Music_Theory_and_Analysis_Volume_4_nu_mero_1_janeiro_a_julho_de_2019">Musica Theorica –Revista da Associação Brasileira de Teoria e Análise Musical – TeMA Journal of the Brazilian Society for Music Theory and Analysis Volume 4 · número 1 · janeiro a julho de 2019</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li 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data-has-card-for-ri="687" rel="nofollow" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="170697" rel="nofollow" href="https://www.academia.edu/Documents/in/Musical_Analysis">Musical Analysis</a><script data-card-contents-for-ri="170697" type="text/json">{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=41898879]'), work: {"id":41898879,"title":"Musica Theorica –Revista da Associação Brasileira de Teoria e Análise Musical – TeMA\nJournal of the Brazilian Society for Music Theory and Analysis\nVolume 4 · número 1 · janeiro a julho de 2019","created_at":"2020-02-07T08:59:21.437-08:00","url":"https://www.academia.edu/41898879/Musica_Theorica_Revista_da_Associac_a_o_Brasileira_de_Teoria_e_Ana_lise_Musical_TeMA_Journal_of_the_Brazilian_Society_for_Music_Theory_and_Analysis_Volume_4_nu_mero_1_janeiro_a_julho_de_2019?f_ri=170697","dom_id":"work_41898879","summary":null,"downloadable_attachments":[{"id":62027497,"asset_id":41898879,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":145001421,"first_name":"Musica","last_name":"Theorica","domain_name":"independent","page_name":"MusicaTheorica","display_name":"Musica Theorica","profile_url":"https://independent.academia.edu/MusicaTheorica?f_ri=170697","photo":"https://0.academia-photos.com/145001421/39598928/32713856/s65_musica.theorica.jpg"}],"research_interests":[{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=170697","nofollow":true},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11536661" data-work_id="11536661" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11536661/Webern_durch_Stockhausen_a_est%C3%A9tica_da_Momentform_aplicada_ao_Opus_11_3">Webern durch Stockhausen: a estética da Momentform aplicada ao Opus 11/3</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">O presente ensaio propõe uma análise estética e formal da obra Opus 11/3 (1914) de Anton Webern (1883-1945) sob a ótica da Momentform encontrada em obras como Kontakte (1958-60) de Karlheinz Stockhausen – conceito e peça elaborados na... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11536661" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">O presente ensaio propõe uma análise estética e formal da obra Opus 11/3 (1914) de Anton Webern (1883-1945) sob a ótica da Momentform encontrada em obras como Kontakte (1958-60) de Karlheinz Stockhausen – conceito e peça elaborados na década de 1950 pelo mesmo.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11536661" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5d5f899a1559084fed79a9d7b23cff4b" rel="nofollow" data-download="{"attachment_id":65576747,"asset_id":11536661,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65576747/download_file?st=MTc0MDYzMTg0MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2361726" href="https://revistavortex.academia.edu/FelipedeAlmeidaRibeiro">Felipe de Almeida Ribeiro</a><script data-card-contents-for-user="2361726" type="text/json">{"id":2361726,"first_name":"Felipe","last_name":"de Almeida Ribeiro","domain_name":"revistavortex","page_name":"FelipedeAlmeidaRibeiro","display_name":"Felipe de Almeida Ribeiro","profile_url":"https://revistavortex.academia.edu/FelipedeAlmeidaRibeiro?f_ri=170697","photo":"https://0.academia-photos.com/2361726/744374/38826977/s65_felipe.ribeiro.jpg"}</script></span></span></li><li class="js-paper-rank-work_11536661 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11536661"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11536661, container: ".js-paper-rank-work_11536661", }); });</script></li><li class="js-percentile-work_11536661 InlineList-item 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Music","url":"https://www.academia.edu/Documents/in/Electroacoustic_Music?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="10338" rel="nofollow" href="https://www.academia.edu/Documents/in/Analysis_of_Electroacoustic_Music">Analysis of Electroacoustic Music</a>, <script data-card-contents-for-ri="10338" type="text/json">{"id":10338,"name":"Analysis of Electroacoustic Music","url":"https://www.academia.edu/Documents/in/Analysis_of_Electroacoustic_Music?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="17546" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Music">Contemporary Music</a>, <script data-card-contents-for-ri="17546" type="text/json">{"id":17546,"name":"Contemporary Music","url":"https://www.academia.edu/Documents/in/Contemporary_Music?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="28879" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_analysis">Music analysis</a><script data-card-contents-for-ri="28879" type="text/json">{"id":28879,"name":"Music analysis","url":"https://www.academia.edu/Documents/in/Music_analysis?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=11536661]'), work: {"id":11536661,"title":"Webern durch Stockhausen: a estética da Momentform aplicada ao Opus 11/3","created_at":"2015-03-19T18:24:04.321-07:00","url":"https://www.academia.edu/11536661/Webern_durch_Stockhausen_a_est%C3%A9tica_da_Momentform_aplicada_ao_Opus_11_3?f_ri=170697","dom_id":"work_11536661","summary":"O presente ensaio propõe uma análise estética e formal da obra Opus 11/3 (1914) de Anton Webern (1883-1945) sob a ótica da Momentform encontrada em obras como Kontakte (1958-60) de Karlheinz Stockhausen – conceito e peça elaborados na década de 1950 pelo mesmo. ","downloadable_attachments":[{"id":65576747,"asset_id":11536661,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2361726,"first_name":"Felipe","last_name":"de Almeida Ribeiro","domain_name":"revistavortex","page_name":"FelipedeAlmeidaRibeiro","display_name":"Felipe de Almeida Ribeiro","profile_url":"https://revistavortex.academia.edu/FelipedeAlmeidaRibeiro?f_ri=170697","photo":"https://0.academia-photos.com/2361726/744374/38826977/s65_felipe.ribeiro.jpg"}],"research_interests":[{"id":10320,"name":"Electroacoustic Music","url":"https://www.academia.edu/Documents/in/Electroacoustic_Music?f_ri=170697","nofollow":true},{"id":10338,"name":"Analysis of Electroacoustic Music","url":"https://www.academia.edu/Documents/in/Analysis_of_Electroacoustic_Music?f_ri=170697","nofollow":true},{"id":17546,"name":"Contemporary Music","url":"https://www.academia.edu/Documents/in/Contemporary_Music?f_ri=170697","nofollow":true},{"id":28879,"name":"Music analysis","url":"https://www.academia.edu/Documents/in/Music_analysis?f_ri=170697","nofollow":true},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36860614" data-work_id="36860614" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36860614/Algunas_consideraciones_anal%C3%ADticas_sobre_el_performance_musical">Algunas consideraciones analíticas sobre el performance musical</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Con el presente trabajo se busca allanar la zanja que existe entre los abordajes tradicionales del discurso musical y los estudios de performance. Para la realización de investigaciones artísticas sobre performances musicales se debe... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36860614" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Con el presente trabajo se busca allanar la zanja que existe entre los abordajes tradicionales del discurso musical y los estudios de performance. Para la realización de investigaciones artísticas sobre performances musicales se debe tener en cuenta dicha expresión como subjetividad cambiante a lo largo de su devenir histórico, construido en las diversas “formas de hacer” que la da a conocer; y como objeto que perdura y es cognoscible a través de la escucha analítica de sus soportes de difusión. Entonces, para el abordaje crítico de los performances musicales resulta importante la triangulación de los resultados provenientes de diferentes estrategias analíticas, con los cuales se deconstruiría un todo único, divisible sólo a nivel epistemológico pero indivisible como forma particular de producción subjetiva. Esto redunda en las relaciones de condicionamiento mutuo existentes entre las expresiones artísticas y su marco generador, así como su uso en la conformación de un discurso performativo propio.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36860614" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="eca4f0b1c982e6c56f2c9d8abae4c007" rel="nofollow" data-download="{"attachment_id":57059105,"asset_id":36860614,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57059105/download_file?st=MTc0MDYzMTg0MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="42874351" href="https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero">Pablo Alejandro Suárez Marrero</a><script data-card-contents-for-user="42874351" type="text/json">{"id":42874351,"first_name":"Pablo Alejandro","last_name":"Suárez Marrero","domain_name":"unam","page_name":"PabloAlejandroSuárezMarrero","display_name":"Pablo Alejandro Suárez Marrero","profile_url":"https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero?f_ri=170697","photo":"https://0.academia-photos.com/42874351/11543053/153116915/s65_pablo_alejandro.su_rez_marrero.jpg"}</script></span></span></li><li class="js-paper-rank-work_36860614 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36860614"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36860614, container: ".js-paper-rank-work_36860614", }); 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Para la realización de investigaciones artísticas sobre performances musicales se debe tener en cuenta dicha expresión como subjetividad cambiante a lo largo de su devenir histórico, construido en las diversas “formas de hacer” que la da a conocer; y como objeto que perdura y es cognoscible a través de la escucha analítica de sus soportes de difusión. Entonces, para el abordaje crítico de los performances musicales resulta importante la triangulación de los resultados provenientes de diferentes estrategias analíticas, con los cuales se deconstruiría un todo único, divisible sólo a nivel epistemológico pero indivisible como forma particular de producción subjetiva. Esto redunda en las relaciones de condicionamiento mutuo existentes entre las expresiones artísticas y su marco generador, así como su uso en la conformación de un discurso performativo propio. ","downloadable_attachments":[{"id":57059105,"asset_id":36860614,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":42874351,"first_name":"Pablo Alejandro","last_name":"Suárez Marrero","domain_name":"unam","page_name":"PabloAlejandroSuárezMarrero","display_name":"Pablo Alejandro Suárez Marrero","profile_url":"https://unam.academia.edu/PabloAlejandroSu%C3%A1rezMarrero?f_ri=170697","photo":"https://0.academia-photos.com/42874351/11543053/153116915/s65_pablo_alejandro.su_rez_marrero.jpg"}],"research_interests":[{"id":34840,"name":"Artistic Research of Music","url":"https://www.academia.edu/Documents/in/Artistic_Research_of_Music?f_ri=170697","nofollow":true},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true},{"id":897709,"name":"Musical perfromance","url":"https://www.academia.edu/Documents/in/Musical_perfromance?f_ri=170697","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_31915513" data-work_id="31915513" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/31915513/Review_of_Assimilate_A_Critical_History_of_Industrial_Music_by_S_Alexander_Reed">Review of Assimilate: A Critical History of Industrial Music, by S. Alexander Reed</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Lunceford, Brett. Review of Assimilate: A Critical History of Industrial Music, by S. Alexander Reed. Popular Music and Society, 38, no. 1 (2015): 104-106.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31915513" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a43bd47f0c3ac0d4b392c3e544ab0937" rel="nofollow" data-download="{"attachment_id":52196891,"asset_id":31915513,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/52196891/download_file?st=MTc0MDYzMTg0MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2760" href="https://independent.academia.edu/BrettLunceford">Brett Lunceford</a><script data-card-contents-for-user="2760" type="text/json">{"id":2760,"first_name":"Brett","last_name":"Lunceford","domain_name":"independent","page_name":"BrettLunceford","display_name":"Brett Lunceford","profile_url":"https://independent.academia.edu/BrettLunceford?f_ri=170697","photo":"https://0.academia-photos.com/2760/770759/958038/s65_brett.lunceford.jpg"}</script></span></span></li><li class="js-paper-rank-work_31915513 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31915513"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31915513, container: ".js-paper-rank-work_31915513", }); 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$(".js-view-count[data-work-id=31915513]").text(description); $(".js-view-count-work_31915513").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_31915513").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="31915513"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">17</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="128" rel="nofollow" href="https://www.academia.edu/Documents/in/History">History</a>, <script data-card-contents-for-ri="128" type="text/json">{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="671" rel="nofollow" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="685" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1056" rel="nofollow" href="https://www.academia.edu/Documents/in/Popular_Music_Studies">Popular Music Studies</a><script data-card-contents-for-ri="1056" type="text/json">{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=31915513]'), work: {"id":31915513,"title":"Review of Assimilate: A Critical History of Industrial Music, by S. 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Popular Music and Society, 38, no. 1 (2015): 104-106.","downloadable_attachments":[{"id":52196891,"asset_id":31915513,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2760,"first_name":"Brett","last_name":"Lunceford","domain_name":"independent","page_name":"BrettLunceford","display_name":"Brett Lunceford","profile_url":"https://independent.academia.edu/BrettLunceford?f_ri=170697","photo":"https://0.academia-photos.com/2760/770759/958038/s65_brett.lunceford.jpg"}],"research_interests":[{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=170697","nofollow":true},{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=170697","nofollow":true},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=170697","nofollow":true},{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=170697","nofollow":true},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=170697"},{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture?f_ri=170697"},{"id":7125,"name":"Culture","url":"https://www.academia.edu/Documents/in/Culture?f_ri=170697"},{"id":10073,"name":"Sociology of Music","url":"https://www.academia.edu/Documents/in/Sociology_of_Music?f_ri=170697"},{"id":12672,"name":"Electronic Music","url":"https://www.academia.edu/Documents/in/Electronic_Music?f_ri=170697"},{"id":13052,"name":"History of Popular Music","url":"https://www.academia.edu/Documents/in/History_of_Popular_Music?f_ri=170697"},{"id":13265,"name":"History Of Electroacoustic Music","url":"https://www.academia.edu/Documents/in/History_Of_Electroacoustic_Music?f_ri=170697"},{"id":14796,"name":"Electronic Dance Music Culture (EDMC)","url":"https://www.academia.edu/Documents/in/Electronic_Dance_Music_Culture_EDMC_?f_ri=170697"},{"id":28879,"name":"Music analysis","url":"https://www.academia.edu/Documents/in/Music_analysis?f_ri=170697"},{"id":30530,"name":"History of music","url":"https://www.academia.edu/Documents/in/History_of_music?f_ri=170697"},{"id":45589,"name":"Industrial Music","url":"https://www.academia.edu/Documents/in/Industrial_Music?f_ri=170697"},{"id":101917,"name":"Popular Music and Culture","url":"https://www.academia.edu/Documents/in/Popular_Music_and_Culture?f_ri=170697"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_48934889" data-work_id="48934889" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/48934889/_Part_2_Musical_Meter_and_Phrase_A_Cognitive_Theory_of_Temporal_Structure_Chapter5_6_20210516_">(Part 2) Musical Meter and Phrase, A Cognitive Theory of Temporal Structure (Chapter5–6) (20210516)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This Part 2 describes the various structures of melodies as more complex versions of the metrical structures discussed in Part 1. In this way, the metrical structure and the grouping structure will be integrated into one theoretical... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_48934889" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This Part 2 describes the various structures of melodies as more complex versions of the metrical structures discussed in Part 1. In this way, the metrical structure and the grouping structure will be integrated into one theoretical entity.<br /><br />In Chapter 5, the various structure of phrases will be understood as roughly being metrical unit. By returning to the metrical structure for analysis, the various irregular structures are clearly understood as the result of a kind of compositional technique.<br /><br />In Chapter 6, the details of various phrases will be understood as a combination of metrical structures, as a complication of metrical structures. The way to create such combinations is through syncopation.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/48934889" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e3af49c41ccaee2bb5671bb8d6e6b8f5" rel="nofollow" data-download="{"attachment_id":67335756,"asset_id":48934889,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/67335756/download_file?st=MTc0MDYzMTg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="109908063" href="https://independent.academia.edu/SeijiOotaka">Seiji Ootaka</a><script data-card-contents-for-user="109908063" type="text/json">{"id":109908063,"first_name":"Seiji","last_name":"Ootaka","domain_name":"independent","page_name":"SeijiOotaka","display_name":"Seiji Ootaka","profile_url":"https://independent.academia.edu/SeijiOotaka?f_ri=170697","photo":"https://0.academia-photos.com/109908063/115023297/104306537/s65_seiji.ootaka.png"}</script></span></span></li><li class="js-paper-rank-work_48934889 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="48934889"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 48934889, container: ".js-paper-rank-work_48934889", }); 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In this way, the metrical structure and the grouping structure will be integrated into one theoretical entity.\n\nIn Chapter 5, the various structure of phrases will be understood as roughly being metrical unit. By returning to the metrical structure for analysis, the various irregular structures are clearly understood as the result of a kind of compositional technique.\n\nIn Chapter 6, the details of various phrases will be understood as a combination of metrical structures, as a complication of metrical structures. The way to create such combinations is through syncopation.","downloadable_attachments":[{"id":67335756,"asset_id":48934889,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":109908063,"first_name":"Seiji","last_name":"Ootaka","domain_name":"independent","page_name":"SeijiOotaka","display_name":"Seiji Ootaka","profile_url":"https://independent.academia.edu/SeijiOotaka?f_ri=170697","photo":"https://0.academia-photos.com/109908063/115023297/104306537/s65_seiji.ootaka.png"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=170697","nofollow":true},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=170697","nofollow":true},{"id":3886,"name":"Rhythm","url":"https://www.academia.edu/Documents/in/Rhythm?f_ri=170697","nofollow":true},{"id":12287,"name":"Mozart","url":"https://www.academia.edu/Documents/in/Mozart?f_ri=170697","nofollow":true},{"id":12509,"name":"Beethoven","url":"https://www.academia.edu/Documents/in/Beethoven?f_ri=170697"},{"id":26752,"name":"Franz Schubert","url":"https://www.academia.edu/Documents/in/Franz_Schubert?f_ri=170697"},{"id":28879,"name":"Music analysis","url":"https://www.academia.edu/Documents/in/Music_analysis?f_ri=170697"},{"id":48549,"name":"Ludwig van Beethoven","url":"https://www.academia.edu/Documents/in/Ludwig_van_Beethoven?f_ri=170697"},{"id":139748,"name":"Frederic Chopin","url":"https://www.academia.edu/Documents/in/Frederic_Chopin?f_ri=170697"},{"id":161881,"name":"Winterreise","url":"https://www.academia.edu/Documents/in/Winterreise?f_ri=170697"},{"id":165039,"name":"Musical Rhythm Theory","url":"https://www.academia.edu/Documents/in/Musical_Rhythm_Theory?f_ri=170697"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697"},{"id":241061,"name":"Meter and Rhythm","url":"https://www.academia.edu/Documents/in/Meter_and_Rhythm?f_ri=170697"},{"id":248016,"name":"Musical Phrasing","url":"https://www.academia.edu/Documents/in/Musical_Phrasing?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_30704005" data-work_id="30704005" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/30704005/An%C3%A1lisis_musical_del_poema_sinf%C3%B3nico_Ce_quon_entend_sur_le_montagne_versiones_musicales_de_C_Franck_y_de_F_Liszt_">Análisis musical del poema sinfónico "Ce qu'on entend sur le montagne" (versiones musicales de C. Franck y de F. Liszt)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The poem by Victor Hugo "Ce qu'on entend sur la montagne" has been, since its publication, a source of inspiration for composers. The two most famous works based in this work are the tone poems by C. Franck and F. Liszt, both composed in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30704005" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The poem by Victor Hugo "Ce qu'on entend sur la montagne" has been, since its publication, a source of inspiration for composers. The two most famous works based in this work are the tone poems by C. Franck and F. Liszt, both composed in the middle of 19th century with few years of difference. Its comparison will allow to deepen into the approach of each composer facing the symbolic and poetic aspects of the poem.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30704005" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1ff742cfb79d6770fc204a0609687487" rel="nofollow" data-download="{"attachment_id":77616415,"asset_id":30704005,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/77616415/download_file?st=MTc0MDYzMTg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="56822109" href="https://albeniz.academia.edu/EnriqueIgoa">Enrique Igoa</a><script data-card-contents-for-user="56822109" type="text/json">{"id":56822109,"first_name":"Enrique","last_name":"Igoa","domain_name":"albeniz","page_name":"EnriqueIgoa","display_name":"Enrique Igoa","profile_url":"https://albeniz.academia.edu/EnriqueIgoa?f_ri=170697","photo":"https://0.academia-photos.com/56822109/15024285/15757451/s65_enrique.igoa.jpg"}</script></span></span></li><li class="js-paper-rank-work_30704005 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30704005"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30704005, container: ".js-paper-rank-work_30704005", }); 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Franck y de F. Liszt)","created_at":"2017-01-02T04:48:53.908-08:00","url":"https://www.academia.edu/30704005/An%C3%A1lisis_musical_del_poema_sinf%C3%B3nico_Ce_quon_entend_sur_le_montagne_versiones_musicales_de_C_Franck_y_de_F_Liszt_?f_ri=170697","dom_id":"work_30704005","summary":"The poem by Victor Hugo \"Ce qu'on entend sur la montagne\" has been, since its publication, a source of inspiration for composers. The two most famous works based in this work are the tone poems by C. Franck and F. Liszt, both composed in the middle of 19th century with few years of difference. Its comparison will allow to deepen into the approach of each composer facing the symbolic and poetic aspects of the poem.","downloadable_attachments":[{"id":77616415,"asset_id":30704005,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":56822109,"first_name":"Enrique","last_name":"Igoa","domain_name":"albeniz","page_name":"EnriqueIgoa","display_name":"Enrique Igoa","profile_url":"https://albeniz.academia.edu/EnriqueIgoa?f_ri=170697","photo":"https://0.academia-photos.com/56822109/15024285/15757451/s65_enrique.igoa.jpg"}],"research_interests":[{"id":32413,"name":"Word and Music Studies","url":"https://www.academia.edu/Documents/in/Word_and_Music_Studies?f_ri=170697","nofollow":true},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true},{"id":386016,"name":"Symphonic Music","url":"https://www.academia.edu/Documents/in/Symphonic_Music?f_ri=170697","nofollow":true},{"id":402926,"name":"Symphonic Poem","url":"https://www.academia.edu/Documents/in/Symphonic_Poem?f_ri=170697","nofollow":true},{"id":745375,"name":"Music Romanticism","url":"https://www.academia.edu/Documents/in/Music_Romanticism?f_ri=170697"},{"id":972936,"name":"Tone Poem","url":"https://www.academia.edu/Documents/in/Tone_Poem?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_26302829" data-work_id="26302829" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/26302829/Espectromorfologia_na_M%C3%BAsica_Instrumental">Espectromorfologia na Música Instrumental</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">[PT] Um dos paradigmas mais influentes na música contemporânea é o som como material composicional em si mesmo: a expansão das sonoridades, a primazia da escuta e os processos de estruturação que fogem dos parâmetros e formas... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_26302829" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">[PT]<br />Um dos paradigmas mais influentes na música contemporânea é o som como material composicional em si mesmo: a expansão das sonoridades, a primazia da escuta e os processos de estruturação que fogem dos parâmetros e formas tradicionais. Este desafio para a análise musical abriu novas possibilidades de abordagem. Pierre Schaeffer desenvolveu uma tipo-morfologia que classifica e descreve os objetos sonoros, inspirando metodologias analíticas especialmente úteis para a música eletroacústica. Lasse Thoresen propõe uma ferramenta gráfica que se baseia na tipo- morfologia schaefferiana, apropriando-se contudo do termo espectromorfologia (apontado pela primeira vez por Denis Smalley). A maior inovação de Thoresen, uma fonte de computador chamada Sonova, é adotada em nossa pesquisa como principal meio ilustrativo. Visamos aqui a abrir um precedente para o estudo da composição instrumental e da orquestração baseado na espectromorfologia, pois a música cujo suporte não é a gravação tem sido pouco pesquisada sob esse olhar, apesar da clara mudança nos paradigmas do último século. Uma abordagem tal, que considera as partituras sem deixar de falar em objeto sonoro, sustenta-se na “desconcretização da sonoridade” (como diria Didier Guigue) e numa revisão dos conceitos schaefferianos. Assim, através da análise de breves exemplos, realizamos uma primeira incursão na qual é evidenciada, ao mesmo tempo, a retroalimentação estético-criativa entre a música instrumental e a eletroacústica, evocando noções como tecnomorfismo e sinal tecnográfico.<br /><br />[EN]<br />One of the most influential paradigms in contemporary music is the sound as compositional material in its own: the expansion of sonorities, the primacy of listening and the structuring processes which move away from traditional parameters and forms. This challenge for musical analysis opened up new approach possibilities. Pierre Schaeffer developed a typo-morphology which classifies and describes sonic objects, inspiring useful analytical methodologies especially for electroacoustic music. Lasse Thoresen proposes a graphic tool based on Schaefferian typo-morphology, and borrowing Denis Smalley's original term spectromorphology. Thoresen's greatest innovation, a computer font called Sonova, is adopted in our research as its leading illustrative means. Our aim is to set a precedent for the study of orchestration based on spectromorphology, once non-recording-based music hasn't been researched consistently under this optics, despite the clear change of paradigms in the last century. Such an approach —one that considers the score but still talks about sonic objects— is supported by both the “deconcretization of sonority” (as Didier Guigue would say) and the revision of Schaefferian concepts. Thus, through the analysis of brief excerpts, we conduct an initial research while also providing evidence of the creative and aesthetic feedback between instrumental and electroacoustic music, evoking the notions of technomorphism and technographic signal.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/26302829" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5003776abf6ea8fe634ae4dea0388ded" rel="nofollow" data-download="{"attachment_id":46616492,"asset_id":26302829,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/46616492/download_file?st=MTc0MDYzMTg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="8911482" href="https://unirio.academia.edu/BryanHolmes">Bryan Holmes</a><script data-card-contents-for-user="8911482" type="text/json">{"id":8911482,"first_name":"Bryan","last_name":"Holmes","domain_name":"unirio","page_name":"BryanHolmes","display_name":"Bryan Holmes","profile_url":"https://unirio.academia.edu/BryanHolmes?f_ri=170697","photo":"https://0.academia-photos.com/8911482/13198355/34835560/s65_bryan.holmes.jpg"}</script></span></span></li><li class="js-paper-rank-work_26302829 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="26302829"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 26302829, container: ".js-paper-rank-work_26302829", }); });</script></li><li class="js-percentile-work_26302829 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 26302829; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_26302829"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_26302829 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="26302829"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 26302829; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=26302829]").text(description); $(".js-view-count-work_26302829").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_26302829").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="26302829"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="10338" rel="nofollow" href="https://www.academia.edu/Documents/in/Analysis_of_Electroacoustic_Music">Analysis of Electroacoustic Music</a>, <script data-card-contents-for-ri="10338" type="text/json">{"id":10338,"name":"Analysis of Electroacoustic Music","url":"https://www.academia.edu/Documents/in/Analysis_of_Electroacoustic_Music?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="43728" rel="nofollow" href="https://www.academia.edu/Documents/in/Pierre_Schaeffer">Pierre Schaeffer</a>, <script data-card-contents-for-ri="43728" type="text/json">{"id":43728,"name":"Pierre Schaeffer","url":"https://www.academia.edu/Documents/in/Pierre_Schaeffer?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="144423" rel="nofollow" href="https://www.academia.edu/Documents/in/Orchestration">Orchestration</a>, <script data-card-contents-for-ri="144423" type="text/json">{"id":144423,"name":"Orchestration","url":"https://www.academia.edu/Documents/in/Orchestration?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="170697" rel="nofollow" href="https://www.academia.edu/Documents/in/Musical_Analysis">Musical Analysis</a><script data-card-contents-for-ri="170697" type="text/json">{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=26302829]'), work: {"id":26302829,"title":"Espectromorfologia na Música Instrumental","created_at":"2016-06-19T06:15:34.433-07:00","url":"https://www.academia.edu/26302829/Espectromorfologia_na_M%C3%BAsica_Instrumental?f_ri=170697","dom_id":"work_26302829","summary":"[PT]\nUm dos paradigmas mais influentes na música contemporânea é o som como material composicional em si mesmo: a expansão das sonoridades, a primazia da escuta e os processos de estruturação que fogem dos parâmetros e formas tradicionais. Este desafio para a análise musical abriu novas possibilidades de abordagem. Pierre Schaeffer desenvolveu uma tipo-morfologia que classifica e descreve os objetos sonoros, inspirando metodologias analíticas especialmente úteis para a música eletroacústica. Lasse Thoresen propõe uma ferramenta gráfica que se baseia na tipo- morfologia schaefferiana, apropriando-se contudo do termo espectromorfologia (apontado pela primeira vez por Denis Smalley). A maior inovação de Thoresen, uma fonte de computador chamada Sonova, é adotada em nossa pesquisa como principal meio ilustrativo. Visamos aqui a abrir um precedente para o estudo da composição instrumental e da orquestração baseado na espectromorfologia, pois a música cujo suporte não é a gravação tem sido pouco pesquisada sob esse olhar, apesar da clara mudança nos paradigmas do último século. Uma abordagem tal, que considera as partituras sem deixar de falar em objeto sonoro, sustenta-se na “desconcretização da sonoridade” (como diria Didier Guigue) e numa revisão dos conceitos schaefferianos. Assim, através da análise de breves exemplos, realizamos uma primeira incursão na qual é evidenciada, ao mesmo tempo, a retroalimentação estético-criativa entre a música instrumental e a eletroacústica, evocando noções como tecnomorfismo e sinal tecnográfico.\n\n[EN]\nOne of the most influential paradigms in contemporary music is the sound as compositional material in its own: the expansion of sonorities, the primacy of listening and the structuring processes which move away from traditional parameters and forms. This challenge for musical analysis opened up new approach possibilities. Pierre Schaeffer developed a typo-morphology which classifies and describes sonic objects, inspiring useful analytical methodologies especially for electroacoustic music. Lasse Thoresen proposes a graphic tool based on Schaefferian typo-morphology, and borrowing Denis Smalley's original term spectromorphology. Thoresen's greatest innovation, a computer font called Sonova, is adopted in our research as its leading illustrative means. Our aim is to set a precedent for the study of orchestration based on spectromorphology, once non-recording-based music hasn't been researched consistently under this optics, despite the clear change of paradigms in the last century. Such an approach —one that considers the score but still talks about sonic objects— is supported by both the “deconcretization of sonority” (as Didier Guigue would say) and the revision of Schaefferian concepts. Thus, through the analysis of brief excerpts, we conduct an initial research while also providing evidence of the creative and aesthetic feedback between instrumental and electroacoustic music, evoking the notions of technomorphism and technographic signal.","downloadable_attachments":[{"id":46616492,"asset_id":26302829,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":8911482,"first_name":"Bryan","last_name":"Holmes","domain_name":"unirio","page_name":"BryanHolmes","display_name":"Bryan Holmes","profile_url":"https://unirio.academia.edu/BryanHolmes?f_ri=170697","photo":"https://0.academia-photos.com/8911482/13198355/34835560/s65_bryan.holmes.jpg"}],"research_interests":[{"id":10338,"name":"Analysis of Electroacoustic Music","url":"https://www.academia.edu/Documents/in/Analysis_of_Electroacoustic_Music?f_ri=170697","nofollow":true},{"id":43728,"name":"Pierre Schaeffer","url":"https://www.academia.edu/Documents/in/Pierre_Schaeffer?f_ri=170697","nofollow":true},{"id":144423,"name":"Orchestration","url":"https://www.academia.edu/Documents/in/Orchestration?f_ri=170697","nofollow":true},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true},{"id":428103,"name":"Typomorphology","url":"https://www.academia.edu/Documents/in/Typomorphology?f_ri=170697"},{"id":1277343,"name":"Technomorphism","url":"https://www.academia.edu/Documents/in/Technomorphism?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_42146307" data-work_id="42146307" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/42146307/IL_CORPO_DOPO_LA_MENTE">IL CORPO DOPO LA MENTE</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Musica e marketing nell'equilibrio ideale? Un'analisi semiotica per scoprire le pratiche di consumo del prodotto musicale attraverso l'artista Calcutta, in rapporto al videoclip del singolo "Paracetamolo", diretto da Francesco Lettieri.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/42146307" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c4723f04114d773162a8b7f4e25b5410" rel="nofollow" data-download="{"attachment_id":62284943,"asset_id":42146307,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/62284943/download_file?st=MTc0MDYzMTg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="38764585" href="https://unibo.academia.edu/StefanoBarbaro">Stefano Barbaro</a><script data-card-contents-for-user="38764585" type="text/json">{"id":38764585,"first_name":"Stefano","last_name":"Barbaro","domain_name":"unibo","page_name":"StefanoBarbaro","display_name":"Stefano Barbaro","profile_url":"https://unibo.academia.edu/StefanoBarbaro?f_ri=170697","photo":"https://0.academia-photos.com/38764585/14149925/36273607/s65_stefano.barbaro.jpeg"}</script></span></span></li><li class="js-paper-rank-work_42146307 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42146307"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42146307, container: ".js-paper-rank-work_42146307", }); 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$(".js-view-count[data-work-id=42146307]").text(description); $(".js-view-count-work_42146307").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_42146307").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="42146307"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="98" rel="nofollow" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="4399" rel="nofollow" href="https://www.academia.edu/Documents/in/Visual_Semiotics">Visual Semiotics</a>, <script data-card-contents-for-ri="4399" type="text/json">{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="9538" rel="nofollow" href="https://www.academia.edu/Documents/in/Consumer_Behavior">Consumer Behavior</a>, <script data-card-contents-for-ri="9538" type="text/json">{"id":9538,"name":"Consumer Behavior","url":"https://www.academia.edu/Documents/in/Consumer_Behavior?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="13666" rel="nofollow" href="https://www.academia.edu/Documents/in/Consumer_Culture">Consumer Culture</a><script data-card-contents-for-ri="13666" type="text/json">{"id":13666,"name":"Consumer Culture","url":"https://www.academia.edu/Documents/in/Consumer_Culture?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=42146307]'), work: {"id":42146307,"title":"IL CORPO DOPO LA MENTE","created_at":"2020-03-05T09:14:19.003-08:00","url":"https://www.academia.edu/42146307/IL_CORPO_DOPO_LA_MENTE?f_ri=170697","dom_id":"work_42146307","summary":"Musica e marketing nell'equilibrio ideale? Un'analisi semiotica per scoprire le pratiche di consumo del prodotto musicale attraverso l'artista Calcutta, in rapporto al videoclip del singolo \"Paracetamolo\", diretto da Francesco Lettieri.","downloadable_attachments":[{"id":62284943,"asset_id":42146307,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":38764585,"first_name":"Stefano","last_name":"Barbaro","domain_name":"unibo","page_name":"StefanoBarbaro","display_name":"Stefano Barbaro","profile_url":"https://unibo.academia.edu/StefanoBarbaro?f_ri=170697","photo":"https://0.academia-photos.com/38764585/14149925/36273607/s65_stefano.barbaro.jpeg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=170697","nofollow":true},{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=170697","nofollow":true},{"id":9538,"name":"Consumer Behavior","url":"https://www.academia.edu/Documents/in/Consumer_Behavior?f_ri=170697","nofollow":true},{"id":13666,"name":"Consumer Culture","url":"https://www.academia.edu/Documents/in/Consumer_Culture?f_ri=170697","nofollow":true},{"id":33863,"name":"Social Semiotics","url":"https://www.academia.edu/Documents/in/Social_Semiotics?f_ri=170697"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697"},{"id":216601,"name":"Semiótica musical","url":"https://www.academia.edu/Documents/in/Semi%C3%B3tica_musical?f_ri=170697"},{"id":386642,"name":"Semiología Musical","url":"https://www.academia.edu/Documents/in/Semiologia_Musical?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_34263269" data-work_id="34263269" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/34263269/Timbre_Analysis_in_the_Mirror_of_Compositional_Process_A_Case_Study_of_Chopins_Berceuse_Op_57">Timbre Analysis in the Mirror of Compositional Process: A Case Study of Chopin's Berceuse Op. 57</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/34263269" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="45ef299b1840fec139ae96642972ad38" rel="nofollow" data-download="{"attachment_id":54471252,"asset_id":34263269,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/54471252/download_file?st=MTc0MDYzMTg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3671492" href="https://sorbonne-universite.academia.edu/NathalieH%C3%A9rold">Nathalie Hérold</a><script data-card-contents-for-user="3671492" type="text/json">{"id":3671492,"first_name":"Nathalie","last_name":"Hérold","domain_name":"sorbonne-universite","page_name":"NathalieHérold","display_name":"Nathalie Hérold","profile_url":"https://sorbonne-universite.academia.edu/NathalieH%C3%A9rold?f_ri=170697","photo":"https://0.academia-photos.com/3671492/1371702/51784291/s65_nathalie.h_rold.jpg"}</script></span></span></li><li class="js-paper-rank-work_34263269 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34263269"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34263269, container: ".js-paper-rank-work_34263269", }); 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O objetivo é refletir sobre a questão da mudança e a transformação nos gêneros musicais, bem como a... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_32572658" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Resumo: Discussão sobre os conceitos de hibridismo, musicalidade, fricção e fusão de musicalidades e tópicas da musi-calidade brasileira. O objetivo é refletir sobre a questão da mudança e a transformação nos gêneros musicais, bem como a da permanência de elementos e figurações musicais que, por sua vez, carregam consigo nexos sócio-culturais e históricos que, de alguma forma, são experimentados pelos músicos e audiências. Tendo como foco questões da música brasileira, este artigo apresenta a busca de tópicas musicais (" brejeiro " , " época-de-ouro " e " nordestina ") como uma ferramenta para enfrentar o problema das transformações no mundo da música. Palavras-chave: hibridismo; musicalidade; tópicas musicais; música brasileira. Abstract: Discussion about concepts such as hybridism, musicality, friction and fusion of musicalities, and the topics of the Brazilian musicality. It aims at reflecting on the question of the change and transformation in musical genres, as much as that of the permanence of musical elements and figurations that, in its turn, carry socio-cultural and historical connections that are somehow experienced by musicians and audiences. Focusing on questions of the Brazilian music, this article presents the search for musical traces called topics (" brejeiro " [maliciously smart ], " época-de-ouro " [good times], and " nor-destina " [northeasterly Brazilian]) as a tool to face the problem of the transformations in the world of music.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/32572658" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a4ed4d61f0c5978b48d4f150f3f8cafd" rel="nofollow" data-download="{"attachment_id":52751046,"asset_id":32572658,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/52751046/download_file?st=MTc0MDYzMTg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4138602" href="https://udesc.academia.edu/Ac%C3%A1cioPiedade">Acácio Piedade</a><script data-card-contents-for-user="4138602" type="text/json">{"id":4138602,"first_name":"Acácio","last_name":"Piedade","domain_name":"udesc","page_name":"AcácioPiedade","display_name":"Acácio Piedade","profile_url":"https://udesc.academia.edu/Ac%C3%A1cioPiedade?f_ri=170697","photo":"https://0.academia-photos.com/4138602/1607903/1942277/s65_ac_cio.piedade.jpg"}</script></span></span></li><li class="js-paper-rank-work_32572658 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="32572658"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 32572658, container: ".js-paper-rank-work_32572658", }); 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Focusing on questions of the Brazilian music, this article presents the search for musical traces called topics (\" brejeiro \" [maliciously smart ], \" época-de-ouro \" [good times], and \" nor-destina \" [northeasterly Brazilian]) as a tool to face the problem of the transformations in the world of music.","downloadable_attachments":[{"id":52751046,"asset_id":32572658,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4138602,"first_name":"Acácio","last_name":"Piedade","domain_name":"udesc","page_name":"AcácioPiedade","display_name":"Acácio Piedade","profile_url":"https://udesc.academia.edu/Ac%C3%A1cioPiedade?f_ri=170697","photo":"https://0.academia-photos.com/4138602/1607903/1942277/s65_ac_cio.piedade.jpg"}],"research_interests":[{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=170697","nofollow":true},{"id":1987,"name":"Ethnomusicology","url":"https://www.academia.edu/Documents/in/Ethnomusicology?f_ri=170697","nofollow":true},{"id":10339,"name":"Semiotics of Music","url":"https://www.academia.edu/Documents/in/Semiotics_of_Music?f_ri=170697","nofollow":true},{"id":23201,"name":"Brazilian Music","url":"https://www.academia.edu/Documents/in/Brazilian_Music?f_ri=170697","nofollow":true},{"id":96159,"name":"Musica Brasileira","url":"https://www.academia.edu/Documents/in/Musica_Brasileira?f_ri=170697"},{"id":112305,"name":"Hibridismo Cultural","url":"https://www.academia.edu/Documents/in/Hibridismo_Cultural?f_ri=170697"},{"id":137387,"name":"Etnomusicologia","url":"https://www.academia.edu/Documents/in/Etnomusicologia?f_ri=170697"},{"id":150317,"name":"Música Popular Brasileira","url":"https://www.academia.edu/Documents/in/M%C3%BAsica_Popular_Brasileira?f_ri=170697"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697"},{"id":191556,"name":"Análise Musical","url":"https://www.academia.edu/Documents/in/Analise_Musical?f_ri=170697"},{"id":1382073,"name":"Musicologia","url":"https://www.academia.edu/Documents/in/Musicologia?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33152525 coauthored" data-work_id="33152525" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33152525/CfP_Writing_Technology_Composers_1973_1983">CfP: Writing <-> Technology. Composers 1973-1983</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The musicological journal «Nuove Musiche» invites authors to submit a proposal for the forthcoming issue, No. 5 (2018). The topic of the issue will be living composers' relation with technology and writing. Such a relationship must be... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33152525" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The musicological journal «Nuove Musiche» invites authors to submit a proposal for the forthcoming issue, No. 5 (2018). The topic of the issue will be living composers' relation with technology and writing. 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Tentar-se-á possibilitar comparações entre a estrutura da... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37761643" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">O presente trabalho tem por intenção fazer uma breve análise da Sonata para piano de Edvard Grieg, Op. 7, em mi menor, composta no ano de 1865 e revisada posteriormente em 1887. Tentar-se-á possibilitar comparações entre a estrutura da sonata dita “clássica” e da presente sonata – uma vez que esta, ao mesmo tempo que possui elementos vários que a enquadram dentro de tal forma clássica, possui outros que desta a afastam. 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La realidad ampliada de la cognición musical</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">La pregunta por la naturaleza de la música en tanto objeto de conocimiento subyace en la formulación de los constructos que integran los enfoques analíticos e interpretativos de la literatura musical en la academia de occidente. Pero el... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44500758" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">La pregunta por la naturaleza de la música en tanto objeto de conocimiento subyace en la formulación de los constructos que integran los enfoques analíticos e interpretativos de la literatura musical en la academia de occidente. Pero el interés ontológico no acaba allí. Un camino en paralelo recorrido en el campo de la psicología de la música ha indagado la dimensión experiencial de la música en tanto estímulo sonoro, junto a los mecanismos y procesos de percepción y acción que intervienen en la cognición de las obras musicales. Si bien queda fuera<br />de toda discusión que la materialidad del sonido percibido y producido define la cualidad musical, sin embargo, una ontología del conocimiento musical basada en la construcción de perceptos no alcanza a brindar una explicación acabada del estatus de realidad en la cognición musical. En este trabajo interrogamos el concepto de realidad cognitiva en la intersección entre los campos musicológico y psicológico, y proponemos una dimensión imaginativa, corporeizada y dinámica<br />de la cognición musical. Explicamos el modo en que los conceptos del análisis musical se vinculan positivamente con el uso de correspondencias entre diferentes dominios de la experiencia.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44500758" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1bd763e70068fab695fadf5289e9d5d4" rel="nofollow" data-download="{"attachment_id":64936684,"asset_id":44500758,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64936684/download_file?st=MTc0MDYzMTg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="34845573" href="https://unlp.academia.edu/ISABELCECILIAMARTINEZ">ISABEL CECILIA MARTINEZ</a><script data-card-contents-for-user="34845573" type="text/json">{"id":34845573,"first_name":"ISABEL CECILIA","last_name":"MARTINEZ","domain_name":"unlp","page_name":"ISABELCECILIAMARTINEZ","display_name":"ISABEL CECILIA MARTINEZ","profile_url":"https://unlp.academia.edu/ISABELCECILIAMARTINEZ?f_ri=170697","photo":"https://0.academia-photos.com/34845573/14150841/15142249/s65_isabel_cecilia.martinez.jpg"}</script></span></span></li><li class="js-paper-rank-work_44500758 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44500758"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44500758, container: ".js-paper-rank-work_44500758", }); 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$(".js-view-count[data-work-id=44500758]").text(description); $(".js-view-count-work_44500758").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44500758").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44500758"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="687" rel="nofollow" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="15078" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_Cognition">Music Cognition</a>, <script data-card-contents-for-ri="15078" type="text/json">{"id":15078,"name":"Music Cognition","url":"https://www.academia.edu/Documents/in/Music_Cognition?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="113425" rel="nofollow" href="https://www.academia.edu/Documents/in/Performance_Musical">Performance Musical</a>, <script data-card-contents-for-ri="113425" type="text/json">{"id":113425,"name":"Performance Musical","url":"https://www.academia.edu/Documents/in/Performance_Musical?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="170697" rel="nofollow" href="https://www.academia.edu/Documents/in/Musical_Analysis">Musical Analysis</a><script data-card-contents-for-ri="170697" type="text/json">{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44500758]'), work: {"id":44500758,"title":"Hacer sentido con el cuerpo en la música. La realidad ampliada de la cognición musical","created_at":"2020-11-14T11:50:06.788-08:00","url":"https://www.academia.edu/44500758/Hacer_sentido_con_el_cuerpo_en_la_m%C3%BAsica_La_realidad_ampliada_de_la_cognici%C3%B3n_musical?f_ri=170697","dom_id":"work_44500758","summary":"La pregunta por la naturaleza de la música en tanto objeto de conocimiento subyace en la formulación de los constructos que integran los enfoques analíticos e interpretativos de la literatura musical en la academia de occidente. Pero el interés ontológico no acaba allí. Un camino en paralelo recorrido en el campo de la psicología de la música ha indagado la dimensión experiencial de la música en tanto estímulo sonoro, junto a los mecanismos y procesos de percepción y acción que intervienen en la cognición de las obras musicales. Si bien queda fuera\nde toda discusión que la materialidad del sonido percibido y producido define la cualidad musical, sin embargo, una ontología del conocimiento musical basada en la construcción de perceptos no alcanza a brindar una explicación acabada del estatus de realidad en la cognición musical. En este trabajo interrogamos el concepto de realidad cognitiva en la intersección entre los campos musicológico y psicológico, y proponemos una dimensión imaginativa, corporeizada y dinámica\nde la cognición musical. Explicamos el modo en que los conceptos del análisis musical se vinculan positivamente con el uso de correspondencias entre diferentes dominios de la experiencia.","downloadable_attachments":[{"id":64936684,"asset_id":44500758,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":34845573,"first_name":"ISABEL CECILIA","last_name":"MARTINEZ","domain_name":"unlp","page_name":"ISABELCECILIAMARTINEZ","display_name":"ISABEL CECILIA MARTINEZ","profile_url":"https://unlp.academia.edu/ISABELCECILIAMARTINEZ?f_ri=170697","photo":"https://0.academia-photos.com/34845573/14150841/15142249/s65_isabel_cecilia.martinez.jpg"}],"research_interests":[{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=170697","nofollow":true},{"id":15078,"name":"Music Cognition","url":"https://www.academia.edu/Documents/in/Music_Cognition?f_ri=170697","nofollow":true},{"id":113425,"name":"Performance Musical","url":"https://www.academia.edu/Documents/in/Performance_Musical?f_ri=170697","nofollow":true},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true},{"id":208599,"name":"Music Pedagogy","url":"https://www.academia.edu/Documents/in/Music_Pedagogy?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_41803063 coauthored" data-work_id="41803063" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/41803063/The_Cry_Of_Teke_Region_Computer_Supported_Musical_Analysis_Of_Gurbet_Havas%C4%B1">The Cry Of Teke Region: Computer-Supported Musical Analysis Of Gurbet Havası</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">One of the most important elements of Anatolian music culture produced by people with their own style and presented to the Turkish music world is “uzunhava” or folk songs with no rhythm. This type classified as laments of the Anatolian... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_41803063" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">One of the most important elements of Anatolian music culture produced by people with their own style and presented to the Turkish music world is “uzunhava” or folk songs with no rhythm. This type classified as laments of the Anatolian people, is a kind of music expressing the experiences and cries of the people, and has no rhythm, a certain seyir and scale, accompanied and guided by folk instruments. One of the important types in this rich “uzunhava” culture in our country is the “Gurbet Havas” from the Teke region. In the literature study, there is not enough research related to Gurbet havas. Accordingly, the aim of the research is to perform computer-supported musical analysis of Gurbet havas. In line with these aims, firstly a literature search was performed in the study and 15 recordings of folk songs which were not distorted were selected from the TRT repertoire and individual archives. Of these selected Gurbet havas, seyir features, frequency of pitch usage, makam analysis and melody graphics created with various computer softwares were analyzed, and suggestions were made for future studies by interpreting the obtained findings.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/41803063" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="031e5f6f6f8cafdd25335187e930e3cd" rel="nofollow" data-download="{"attachment_id":61950918,"asset_id":41803063,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61950918/download_file?st=MTc0MDYzMTg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="87171538" href="https://mehmetakif.academia.edu/AlperB%C3%B6rekci">Alper Börekci</a><script data-card-contents-for-user="87171538" type="text/json">{"id":87171538,"first_name":"Alper","last_name":"Börekci","domain_name":"mehmetakif","page_name":"AlperBörekci","display_name":"Alper Börekci","profile_url":"https://mehmetakif.academia.edu/AlperB%C3%B6rekci?f_ri=170697","photo":"https://0.academia-photos.com/87171538/21202066/20651245/s65_alper.b_rekci.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-41803063">+1</span><div class="hidden js-additional-users-41803063"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://mehmetakif.academia.edu/ZekiNacakc%C4%B1">Zeki Nacakcı</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-41803063'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-41803063').html(); 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container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_41803063 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="41803063"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41803063; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41803063]").text(description); $(".js-view-count-work_41803063").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_41803063").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="41803063"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="170697" rel="nofollow" href="https://www.academia.edu/Documents/in/Musical_Analysis">Musical Analysis</a>, <script data-card-contents-for-ri="170697" type="text/json">{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="412804" rel="nofollow" href="https://www.academia.edu/Documents/in/Turkish_folk_music">Turkish folk music</a>, <script data-card-contents-for-ri="412804" type="text/json">{"id":412804,"name":"Turkish folk music","url":"https://www.academia.edu/Documents/in/Turkish_folk_music?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1422319" rel="nofollow" href="https://www.academia.edu/Documents/in/Uzun_Hava">Uzun Hava</a><script data-card-contents-for-ri="1422319" type="text/json">{"id":1422319,"name":"Uzun Hava","url":"https://www.academia.edu/Documents/in/Uzun_Hava?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=41803063]'), work: {"id":41803063,"title":"The Cry Of Teke Region: Computer-Supported Musical Analysis Of Gurbet Havası","created_at":"2020-01-31T05:14:09.355-08:00","url":"https://www.academia.edu/41803063/The_Cry_Of_Teke_Region_Computer_Supported_Musical_Analysis_Of_Gurbet_Havas%C4%B1?f_ri=170697","dom_id":"work_41803063","summary":"One of the most important elements of Anatolian music culture produced by people with their own style and presented to the Turkish music world is “uzunhava” or folk songs with no rhythm. This type classified as laments of the Anatolian people, is a kind of music expressing the experiences and cries of the people, and has no rhythm, a certain seyir and scale, accompanied and guided by folk instruments. One of the important types in this rich “uzunhava” culture in our country is the “Gurbet Havas” from the Teke region. In the literature study, there is not enough research related to Gurbet havas. Accordingly, the aim of the research is to perform computer-supported musical analysis of Gurbet havas. In line with these aims, firstly a literature search was performed in the study and 15 recordings of folk songs which were not distorted were selected from the TRT repertoire and individual archives. Of these selected Gurbet havas, seyir features, frequency of pitch usage, makam analysis and melody graphics created with various computer softwares were analyzed, and suggestions were made for future studies by interpreting the obtained findings. ","downloadable_attachments":[{"id":61950918,"asset_id":41803063,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":87171538,"first_name":"Alper","last_name":"Börekci","domain_name":"mehmetakif","page_name":"AlperBörekci","display_name":"Alper Börekci","profile_url":"https://mehmetakif.academia.edu/AlperB%C3%B6rekci?f_ri=170697","photo":"https://0.academia-photos.com/87171538/21202066/20651245/s65_alper.b_rekci.jpg"},{"id":17305383,"first_name":"Zeki","last_name":"Nacakcı","domain_name":"mehmetakif","page_name":"ZekiNacakcı","display_name":"Zeki Nacakcı","profile_url":"https://mehmetakif.academia.edu/ZekiNacakc%C4%B1?f_ri=170697","photo":"https://0.academia-photos.com/17305383/4801461/147875919/s65_zeki.nacakc_.jpg"}],"research_interests":[{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true},{"id":412804,"name":"Turkish folk music","url":"https://www.academia.edu/Documents/in/Turkish_folk_music?f_ri=170697","nofollow":true},{"id":1422319,"name":"Uzun Hava","url":"https://www.academia.edu/Documents/in/Uzun_Hava?f_ri=170697","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_41322563" data-work_id="41322563" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/41322563/Domino_III_for_Timpani_EN_">Domino III for Timpani (EN)</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/41322563" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="bfb74b72acece7e02d0a4de05798d96d" rel="nofollow" data-download="{"attachment_id":61528206,"asset_id":41322563,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61528206/download_file?st=MTc0MDYzMTg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="32181213" href="https://otmed.academia.edu/PhilippeBoivin">Philippe Boivin</a><script data-card-contents-for-user="32181213" type="text/json">{"id":32181213,"first_name":"Philippe","last_name":"Boivin","domain_name":"otmed","page_name":"PhilippeBoivin","display_name":"Philippe Boivin","profile_url":"https://otmed.academia.edu/PhilippeBoivin?f_ri=170697","photo":"https://0.academia-photos.com/32181213/9615425/10710394/s65_philippe.boivin.jpg"}</script></span></span></li><li class="js-paper-rank-work_41322563 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="41322563"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 41322563, container: ".js-paper-rank-work_41322563", }); 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$(".js-view-count[data-work-id=41322563]").text(description); $(".js-view-count-work_41322563").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_41322563").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="41322563"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="170697" rel="nofollow" href="https://www.academia.edu/Documents/in/Musical_Analysis">Musical Analysis</a><script data-card-contents-for-ri="170697" type="text/json">{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=41322563]'), work: {"id":41322563,"title":"Domino III for Timpani (EN)","created_at":"2019-12-16T03:50:20.844-08:00","url":"https://www.academia.edu/41322563/Domino_III_for_Timpani_EN_?f_ri=170697","dom_id":"work_41322563","summary":null,"downloadable_attachments":[{"id":61528206,"asset_id":41322563,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":32181213,"first_name":"Philippe","last_name":"Boivin","domain_name":"otmed","page_name":"PhilippeBoivin","display_name":"Philippe Boivin","profile_url":"https://otmed.academia.edu/PhilippeBoivin?f_ri=170697","photo":"https://0.academia-photos.com/32181213/9615425/10710394/s65_philippe.boivin.jpg"}],"research_interests":[{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37119057" data-work_id="37119057" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37119057/EL_CONCEPTO_DE_FORMA_EN_LA_OBRA_DE_WITOLD_LUTOSLAWSKI">EL CONCEPTO DE FORMA EN LA OBRA DE WITOLD LUTOSLAWSKI</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">La obra de Witold Lutoslawski (1913 suele ser mencionada en los estudios sobre la música del siglo XX con relación al uso de la indeterminación en la vanguardia de posguerra. 1 Desde otro punto de vista, su carrera es un ejemplo de la... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37119057" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">La obra de Witold Lutoslawski (1913 suele ser mencionada en los estudios sobre la música del siglo XX con relación al uso de la indeterminación en la vanguardia de posguerra. 1 Desde otro punto de vista, su carrera es un ejemplo de la búsqueda de los compositores del siglo pasado por encontrar nuevas técnicas para la organización de la altura, ya sea en el plano lineal como en el vertical. Pero en Lutoslawski la indeterminación en los parámetros de la melodía, de la armonía, y del ritmo (lo aleatorio), y la organización de la altura, corresponden sólo a una parte de sus aportaciones al desarrollo de la música. Hay otro aspecto, a mi entender, de igual o mayor importancia, y éste es su concepción de la forma. El presente artículo explora dicha concepción desde la perspectiva del análisis del estilo propuesto por Leonard B. Meyer.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37119057" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c99aba1be80e6d65468643cff9b03f6f" rel="nofollow" data-download="{"attachment_id":57070488,"asset_id":37119057,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57070488/download_file?st=MTc0MDYzMTg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="43201335" href="https://utalca.academia.edu/GonzaloMart%C3%ADnez">Dr. Gonzalo Martínez</a><script data-card-contents-for-user="43201335" type="text/json">{"id":43201335,"first_name":"Dr. Gonzalo","last_name":"Martínez","domain_name":"utalca","page_name":"GonzaloMartínez","display_name":"Dr. Gonzalo Martínez","profile_url":"https://utalca.academia.edu/GonzaloMart%C3%ADnez?f_ri=170697","photo":"https://0.academia-photos.com/43201335/13575960/14740536/s65_dr._gonzalo.mart_nez.jpg"}</script></span></span></li><li class="js-paper-rank-work_37119057 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37119057"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37119057, container: ".js-paper-rank-work_37119057", }); 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$(".js-view-count[data-work-id=37119057]").text(description); $(".js-view-count-work_37119057").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37119057").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37119057"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="170697" rel="nofollow" href="https://www.academia.edu/Documents/in/Musical_Analysis">Musical Analysis</a>, <script data-card-contents-for-ri="170697" type="text/json">{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="627694" rel="nofollow" href="https://www.academia.edu/Documents/in/Lutoslawski">Lutoslawski</a>, <script data-card-contents-for-ri="627694" type="text/json">{"id":627694,"name":"Lutoslawski","url":"https://www.academia.edu/Documents/in/Lutoslawski?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1492587" rel="nofollow" href="https://www.academia.edu/Documents/in/Development_of_Musical_Forms">Development of Musical Forms</a><script data-card-contents-for-ri="1492587" type="text/json">{"id":1492587,"name":"Development of Musical Forms","url":"https://www.academia.edu/Documents/in/Development_of_Musical_Forms?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37119057]'), work: {"id":37119057,"title":"EL CONCEPTO DE FORMA EN LA OBRA DE WITOLD LUTOSLAWSKI","created_at":"2018-07-25T07:42:07.466-07:00","url":"https://www.academia.edu/37119057/EL_CONCEPTO_DE_FORMA_EN_LA_OBRA_DE_WITOLD_LUTOSLAWSKI?f_ri=170697","dom_id":"work_37119057","summary":"La obra de Witold Lutoslawski (1913 suele ser mencionada en los estudios sobre la música del siglo XX con relación al uso de la indeterminación en la vanguardia de posguerra. 1 Desde otro punto de vista, su carrera es un ejemplo de la búsqueda de los compositores del siglo pasado por encontrar nuevas técnicas para la organización de la altura, ya sea en el plano lineal como en el vertical. Pero en Lutoslawski la indeterminación en los parámetros de la melodía, de la armonía, y del ritmo (lo aleatorio), y la organización de la altura, corresponden sólo a una parte de sus aportaciones al desarrollo de la música. Hay otro aspecto, a mi entender, de igual o mayor importancia, y éste es su concepción de la forma. El presente artículo explora dicha concepción desde la perspectiva del análisis del estilo propuesto por Leonard B. Meyer.","downloadable_attachments":[{"id":57070488,"asset_id":37119057,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":43201335,"first_name":"Dr. Gonzalo","last_name":"Martínez","domain_name":"utalca","page_name":"GonzaloMartínez","display_name":"Dr. Gonzalo Martínez","profile_url":"https://utalca.academia.edu/GonzaloMart%C3%ADnez?f_ri=170697","photo":"https://0.academia-photos.com/43201335/13575960/14740536/s65_dr._gonzalo.mart_nez.jpg"}],"research_interests":[{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true},{"id":627694,"name":"Lutoslawski","url":"https://www.academia.edu/Documents/in/Lutoslawski?f_ri=170697","nofollow":true},{"id":1492587,"name":"Development of Musical Forms","url":"https://www.academia.edu/Documents/in/Development_of_Musical_Forms?f_ri=170697","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36114218" data-work_id="36114218" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36114218/Forma_na_po%C3%A9tica_de_dois_compositores_eletroac%C3%BAsticos_brasileiros_Rodolfo_Caesar_e_Flo_Menezes_Anais_do_5o_Simp%C3%B3sio_Internacional_de_M%C3%BAsica_na_Amaz%C3%B4nia_Bel%C3%A9m_PA_ISSN_2447_9810">Forma na poética de dois compositores eletroacústicos brasileiros: Rodolfo Caesar e Flo Menezes | Anais do 5º Simpósio Internacional de Música na Amazônia Belém-PA | ISSN 2447-9810</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">O trabalho pretende, brevemente, discutir aspectos formais da obra de Rodolfo Caesar e Flo Menezes à luz da discussão sobre o problema da estruturação formal na gênese da música eletroacústica, ao lado do olhar dos próprios compositores... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36114218" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">O trabalho pretende, brevemente, discutir aspectos formais da obra de Rodolfo Caesar e Flo Menezes à luz da discussão sobre o problema da estruturação formal na gênese da música eletroacústica, ao lado do olhar dos próprios compositores sobre como lidam com a questão da forma em suas poéticas composicionais.<br />Abstract: this article aims to discuss, briefly, formal aspects of some works by Rodolfo Caesar and Flo Menezes in the perspective of the debate about formal structure in the genesis of electroacoustic music as well as the composers’ view about the form in their own compositional processes</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36114218" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3d83e0005af52c448e3929c1211e2a2c" rel="nofollow" data-download="{"attachment_id":56005999,"asset_id":36114218,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56005999/download_file?st=MTc0MDYzMTg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2898643" href="https://unicamp.academia.edu/JorgeSantos">Jorge Santos</a><script data-card-contents-for-user="2898643" type="text/json">{"id":2898643,"first_name":"Jorge","last_name":"Santos","domain_name":"unicamp","page_name":"JorgeSantos","display_name":"Jorge Santos","profile_url":"https://unicamp.academia.edu/JorgeSantos?f_ri=170697","photo":"https://0.academia-photos.com/2898643/955610/29954862/s65_jorge.santos.png"}</script></span></span></li><li class="js-paper-rank-work_36114218 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36114218"><i 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class="js-view-count view-count u-mr2x" data-work-id="36114218"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36114218; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36114218]").text(description); $(".js-view-count-work_36114218").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_36114218").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="36114218"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="17546" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Music">Contemporary Music</a>, <script data-card-contents-for-ri="17546" type="text/json">{"id":17546,"name":"Contemporary Music","url":"https://www.academia.edu/Documents/in/Contemporary_Music?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="25772" rel="nofollow" href="https://www.academia.edu/Documents/in/Musical_Form">Musical Form</a>, <script data-card-contents-for-ri="25772" type="text/json">{"id":25772,"name":"Musical Form","url":"https://www.academia.edu/Documents/in/Musical_Form?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="140474" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Classical_Music">Contemporary Classical Music</a>, <script data-card-contents-for-ri="140474" type="text/json">{"id":140474,"name":"Contemporary Classical Music","url":"https://www.academia.edu/Documents/in/Contemporary_Classical_Music?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="170697" rel="nofollow" href="https://www.academia.edu/Documents/in/Musical_Analysis">Musical Analysis</a><script data-card-contents-for-ri="170697" type="text/json">{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36114218]'), work: {"id":36114218,"title":"Forma na poética de dois compositores eletroacústicos brasileiros: Rodolfo Caesar e Flo Menezes | Anais do 5º Simpósio Internacional de Música na Amazônia Belém-PA | ISSN 2447-9810","created_at":"2018-03-08T18:13:29.133-08:00","url":"https://www.academia.edu/36114218/Forma_na_po%C3%A9tica_de_dois_compositores_eletroac%C3%BAsticos_brasileiros_Rodolfo_Caesar_e_Flo_Menezes_Anais_do_5o_Simp%C3%B3sio_Internacional_de_M%C3%BAsica_na_Amaz%C3%B4nia_Bel%C3%A9m_PA_ISSN_2447_9810?f_ri=170697","dom_id":"work_36114218","summary":"O trabalho pretende, brevemente, discutir aspectos formais da obra de Rodolfo Caesar e Flo Menezes à luz da discussão sobre o problema da estruturação formal na gênese da música eletroacústica, ao lado do olhar dos próprios compositores sobre como lidam com a questão da forma em suas poéticas composicionais.\nAbstract: this article aims to discuss, briefly, formal aspects of some works by Rodolfo Caesar and Flo Menezes in the perspective of the debate about formal structure in the genesis of electroacoustic music as well as the composers’ view about the form in their own compositional processes","downloadable_attachments":[{"id":56005999,"asset_id":36114218,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2898643,"first_name":"Jorge","last_name":"Santos","domain_name":"unicamp","page_name":"JorgeSantos","display_name":"Jorge Santos","profile_url":"https://unicamp.academia.edu/JorgeSantos?f_ri=170697","photo":"https://0.academia-photos.com/2898643/955610/29954862/s65_jorge.santos.png"}],"research_interests":[{"id":17546,"name":"Contemporary Music","url":"https://www.academia.edu/Documents/in/Contemporary_Music?f_ri=170697","nofollow":true},{"id":25772,"name":"Musical Form","url":"https://www.academia.edu/Documents/in/Musical_Form?f_ri=170697","nofollow":true},{"id":140474,"name":"Contemporary Classical Music","url":"https://www.academia.edu/Documents/in/Contemporary_Classical_Music?f_ri=170697","nofollow":true},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true},{"id":191556,"name":"Análise Musical","url":"https://www.academia.edu/Documents/in/Analise_Musical?f_ri=170697"},{"id":209747,"name":"Sonologia","url":"https://www.academia.edu/Documents/in/Sonologia?f_ri=170697"},{"id":546765,"name":"Acousmatic and Electroacustic music","url":"https://www.academia.edu/Documents/in/Acousmatic_and_Electroacustic_music?f_ri=170697"},{"id":707414,"name":"Música Eletroacústica","url":"https://www.academia.edu/Documents/in/Musica_Eletroacustica?f_ri=170697"},{"id":884411,"name":"Sonology","url":"https://www.academia.edu/Documents/in/Sonology?f_ri=170697"},{"id":1163801,"name":"Forma Musical","url":"https://www.academia.edu/Documents/in/Forma_Musical?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_30816657" data-work_id="30816657" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/30816657/_Birds_of_Ire_Structure_Texture_and_Influence_in_the_Music_of_the_Mahavishnu_Orchestra_conference_paper_2001_">"Birds of Ire? Structure, Texture, and Influence in the Music of the Mahavishnu Orchestra" (conference paper, 2001)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">This paper examines parallels between jazz-rock fusion of the late 1960s/early 1970s and well-established jazz practices in the 1950s and 60s, focusing especially on the music of John Coltrane and John McLaughlin's Mahavishnu Orchestra.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30816657" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9561c68325d1206d343095cc4778d92c" rel="nofollow" data-download="{"attachment_id":51249470,"asset_id":30816657,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51249470/download_file?st=MTc0MDYzMTg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5080019" href="https://rochester.academia.edu/JohnCovach">John Covach</a><script data-card-contents-for-user="5080019" type="text/json">{"id":5080019,"first_name":"John","last_name":"Covach","domain_name":"rochester","page_name":"JohnCovach","display_name":"John Covach","profile_url":"https://rochester.academia.edu/JohnCovach?f_ri=170697","photo":"https://0.academia-photos.com/5080019/3833500/99455055/s65_john.covach.jpeg"}</script></span></span></li><li class="js-paper-rank-work_30816657 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30816657"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30816657, container: ".js-paper-rank-work_30816657", }); });</script></li><li class="js-percentile-work_30816657 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 30816657; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_30816657"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_30816657 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="30816657"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 30816657; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=30816657]").text(description); $(".js-view-count-work_30816657").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_30816657").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="30816657"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">18</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="671" rel="nofollow" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="683" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_Education">Music Education</a>, <script data-card-contents-for-ri="683" type="text/json">{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="685" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="687" rel="nofollow" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a><script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=30816657]'), work: {"id":30816657,"title":"\"Birds of Ire? Structure, Texture, and Influence in the Music of the Mahavishnu Orchestra\" (conference paper, 2001)","created_at":"2017-01-08T10:29:00.240-08:00","url":"https://www.academia.edu/30816657/_Birds_of_Ire_Structure_Texture_and_Influence_in_the_Music_of_the_Mahavishnu_Orchestra_conference_paper_2001_?f_ri=170697","dom_id":"work_30816657","summary":"This paper examines parallels between jazz-rock fusion of the late 1960s/early 1970s and well-established jazz practices in the 1950s and 60s, focusing especially on the music of John Coltrane and John McLaughlin's Mahavishnu Orchestra.","downloadable_attachments":[{"id":51249470,"asset_id":30816657,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5080019,"first_name":"John","last_name":"Covach","domain_name":"rochester","page_name":"JohnCovach","display_name":"John Covach","profile_url":"https://rochester.academia.edu/JohnCovach?f_ri=170697","photo":"https://0.academia-photos.com/5080019/3833500/99455055/s65_john.covach.jpeg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=170697","nofollow":true},{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=170697","nofollow":true},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=170697","nofollow":true},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=170697","nofollow":true},{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=170697"},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=170697"},{"id":13052,"name":"History of Popular Music","url":"https://www.academia.edu/Documents/in/History_of_Popular_Music?f_ri=170697"},{"id":14383,"name":"Jazz Guitar","url":"https://www.academia.edu/Documents/in/Jazz_Guitar?f_ri=170697"},{"id":17223,"name":"Jazz Studies","url":"https://www.academia.edu/Documents/in/Jazz_Studies?f_ri=170697"},{"id":17546,"name":"Contemporary Music","url":"https://www.academia.edu/Documents/in/Contemporary_Music?f_ri=170697"},{"id":22805,"name":"Jazz History","url":"https://www.academia.edu/Documents/in/Jazz_History?f_ri=170697"},{"id":27619,"name":"Jazz Improvisation","url":"https://www.academia.edu/Documents/in/Jazz_Improvisation?f_ri=170697"},{"id":27657,"name":"Jazz Theory","url":"https://www.academia.edu/Documents/in/Jazz_Theory?f_ri=170697"},{"id":28879,"name":"Music analysis","url":"https://www.academia.edu/Documents/in/Music_analysis?f_ri=170697"},{"id":32038,"name":"Popular musicology","url":"https://www.academia.edu/Documents/in/Popular_musicology?f_ri=170697"},{"id":101917,"name":"Popular Music and Culture","url":"https://www.academia.edu/Documents/in/Popular_Music_and_Culture?f_ri=170697"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697"},{"id":1007635,"name":"Jazz Harmony","url":"https://www.academia.edu/Documents/in/Jazz_Harmony?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_16504834" data-work_id="16504834" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/16504834/The_Cambridge_Companion_to_Ravel_Ed_by_Deborah_Mawer_review_">The Cambridge Companion to Ravel. Ed by Deborah Mawer (review)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Tempo 216 (April 2001), 46-47</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/16504834" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="564cd6a8d0bfbd64f766af6b341171ce" rel="nofollow" data-download="{"attachment_id":51597810,"asset_id":16504834,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51597810/download_file?st=MTc0MDYzMTg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="835525" href="https://ram.academia.edu/AnthonyGritten">Anthony Gritten</a><script data-card-contents-for-user="835525" type="text/json">{"id":835525,"first_name":"Anthony","last_name":"Gritten","domain_name":"ram","page_name":"AnthonyGritten","display_name":"Anthony Gritten","profile_url":"https://ram.academia.edu/AnthonyGritten?f_ri=170697","photo":"https://0.academia-photos.com/835525/293196/35673330/s65_anthony.gritten.jpg"}</script></span></span></li><li class="js-paper-rank-work_16504834 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="16504834"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 16504834, container: ".js-paper-rank-work_16504834", }); 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$(".js-view-count[data-work-id=16504834]").text(description); $(".js-view-count-work_16504834").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_16504834").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="16504834"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="2601" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="13313" rel="nofollow" href="https://www.academia.edu/Documents/in/Twentieth-century_Music">Twentieth-century Music</a>, <script data-card-contents-for-ri="13313" type="text/json">{"id":13313,"name":"Twentieth-century Music","url":"https://www.academia.edu/Documents/in/Twentieth-century_Music?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="16767" rel="nofollow" href="https://www.academia.edu/Documents/in/Modernism">Modernism</a>, <script data-card-contents-for-ri="16767" type="text/json">{"id":16767,"name":"Modernism","url":"https://www.academia.edu/Documents/in/Modernism?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="43620" rel="nofollow" href="https://www.academia.edu/Documents/in/Musical_Modernism">Musical Modernism</a><script data-card-contents-for-ri="43620" type="text/json">{"id":43620,"name":"Musical Modernism","url":"https://www.academia.edu/Documents/in/Musical_Modernism?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=16504834]'), work: {"id":16504834,"title":"The Cambridge Companion to Ravel. Ed by Deborah Mawer (review)","created_at":"2015-10-06T05:18:27.505-07:00","url":"https://www.academia.edu/16504834/The_Cambridge_Companion_to_Ravel_Ed_by_Deborah_Mawer_review_?f_ri=170697","dom_id":"work_16504834","summary":"Tempo 216 (April 2001), 46-47","downloadable_attachments":[{"id":51597810,"asset_id":16504834,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":835525,"first_name":"Anthony","last_name":"Gritten","domain_name":"ram","page_name":"AnthonyGritten","display_name":"Anthony Gritten","profile_url":"https://ram.academia.edu/AnthonyGritten?f_ri=170697","photo":"https://0.academia-photos.com/835525/293196/35673330/s65_anthony.gritten.jpg"}],"research_interests":[{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=170697","nofollow":true},{"id":13313,"name":"Twentieth-century Music","url":"https://www.academia.edu/Documents/in/Twentieth-century_Music?f_ri=170697","nofollow":true},{"id":16767,"name":"Modernism","url":"https://www.academia.edu/Documents/in/Modernism?f_ri=170697","nofollow":true},{"id":43620,"name":"Musical Modernism","url":"https://www.academia.edu/Documents/in/Musical_Modernism?f_ri=170697","nofollow":true},{"id":58775,"name":"French Music","url":"https://www.academia.edu/Documents/in/French_Music?f_ri=170697"},{"id":80726,"name":"Maurice Ravel","url":"https://www.academia.edu/Documents/in/Maurice_Ravel?f_ri=170697"},{"id":129022,"name":"The Music of Maurice Ravel; Schenkerian Analysis","url":"https://www.academia.edu/Documents/in/The_Music_of_Maurice_Ravel_Schenkerian_Analysis?f_ri=170697"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697"},{"id":465106,"name":"Ravel","url":"https://www.academia.edu/Documents/in/Ravel?f_ri=170697"},{"id":609672,"name":"20th Century French Music","url":"https://www.academia.edu/Documents/in/20th_Century_French_Music?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_41696065" data-work_id="41696065" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/41696065/Stylistic_Pastiche_and_Intertextuality_in_Musical_Theatre_Practice_and_Theory">Stylistic Pastiche and Intertextuality in Musical Theatre: Practice and Theory</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Stylistic pastiche is a standard technique in popular musical theatre. With origins in the early works of Andrew Lloyd Webber (e.g. Jesus Christ Superstar) and other rock musicals of the 1960s, (Hair!), recent shows (The Last Five Years,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_41696065" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Stylistic pastiche is a standard technique in popular musical theatre. With origins in the early works of Andrew Lloyd Webber (e.g. Jesus Christ Superstar) and other rock musicals of the 1960s, (Hair!), recent shows (The Last Five Years, The Book of Mormon) rely on expansive networks of style references. This paper explores how an analytical understanding of different types of stylistic pastiche may inform composing and arranging practices.<br /><br />I propose a three-part distinction between different forms of pastiche, with several further sub-distinctions. Firstly, styles can evoke a particular time and place, such as the 1920s jazz era of Lippa’s The Wild Party or late-1970s Philadelphia in Sister Act. Secondly, different styles can underscore or reveal the emotional tone of a song: the Latin inflections of ‘Shiksa Goddess’ (TLFY), for instance, reflect the perceived ‘exotic’ (i.e. non-Jewish) character of Jamie’s new girlfriend. Finally, pastiche often serves a humorous purpose, in three main ways: anachronistic styles are connected with authority figures (‘You’ll Be Back’ from Hamilton); camp connotations (‘Turn It Off’ from TBOM); and, juxtaposition between lyrical content/characters and stylistic associations (‘The All-American Prophet’ from TBOM).<br /><br />I conclude by relating the analytical findings to my own collaborative practices as an arranger and composer for several original musicals. With examples from The Quest (2017) and Artful Dodgers (2018), I show how the different types of pastiche at the level of both composition (e.g. harmonic/melodic language) and sound-world (instrumentation/arrangement) may add greater depth and nuance to the characters and narratives of the musicals.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/41696065" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6bd66e87113f01d48fbe2b9f7695521d" rel="nofollow" data-download="{"attachment_id":61853800,"asset_id":41696065,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61853800/download_file?st=MTc0MDYzMTg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3298392" href="https://wintec.academia.edu/NickBraae">Nick Braae</a><script data-card-contents-for-user="3298392" type="text/json">{"id":3298392,"first_name":"Nick","last_name":"Braae","domain_name":"wintec","page_name":"NickBraae","display_name":"Nick Braae","profile_url":"https://wintec.academia.edu/NickBraae?f_ri=170697","photo":"https://0.academia-photos.com/3298392/1097345/11460634/s65_nick.braae.jpg"}</script></span></span></li><li class="js-paper-rank-work_41696065 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="41696065"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 41696065, container: ".js-paper-rank-work_41696065", }); 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$(".js-view-count[data-work-id=41696065]").text(description); $(".js-view-count-work_41696065").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_41696065").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="41696065"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1056" rel="nofollow" href="https://www.academia.edu/Documents/in/Popular_Music_Studies">Popular Music Studies</a>, <script data-card-contents-for-ri="1056" type="text/json">{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" rel="nofollow" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="32038" rel="nofollow" href="https://www.academia.edu/Documents/in/Popular_musicology">Popular musicology</a>, <script data-card-contents-for-ri="32038" type="text/json">{"id":32038,"name":"Popular musicology","url":"https://www.academia.edu/Documents/in/Popular_musicology?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="85319" rel="nofollow" href="https://www.academia.edu/Documents/in/Broadway_Musical_Theatre">Broadway Musical Theatre</a><script data-card-contents-for-ri="85319" type="text/json">{"id":85319,"name":"Broadway Musical Theatre","url":"https://www.academia.edu/Documents/in/Broadway_Musical_Theatre?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=41696065]'), work: {"id":41696065,"title":"Stylistic Pastiche and Intertextuality in Musical Theatre: Practice and Theory","created_at":"2020-01-21T16:56:01.948-08:00","url":"https://www.academia.edu/41696065/Stylistic_Pastiche_and_Intertextuality_in_Musical_Theatre_Practice_and_Theory?f_ri=170697","dom_id":"work_41696065","summary":"Stylistic pastiche is a standard technique in popular musical theatre. With origins in the early works of Andrew Lloyd Webber (e.g. Jesus Christ Superstar) and other rock musicals of the 1960s, (Hair!), recent shows (The Last Five Years, The Book of Mormon) rely on expansive networks of style references. This paper explores how an analytical understanding of different types of stylistic pastiche may inform composing and arranging practices.\n\nI propose a three-part distinction between different forms of pastiche, with several further sub-distinctions. Firstly, styles can evoke a particular time and place, such as the 1920s jazz era of Lippa’s The Wild Party or late-1970s Philadelphia in Sister Act. Secondly, different styles can underscore or reveal the emotional tone of a song: the Latin inflections of ‘Shiksa Goddess’ (TLFY), for instance, reflect the perceived ‘exotic’ (i.e. non-Jewish) character of Jamie’s new girlfriend. Finally, pastiche often serves a humorous purpose, in three main ways: anachronistic styles are connected with authority figures (‘You’ll Be Back’ from Hamilton); camp connotations (‘Turn It Off’ from TBOM); and, juxtaposition between lyrical content/characters and stylistic associations (‘The All-American Prophet’ from TBOM).\n\nI conclude by relating the analytical findings to my own collaborative practices as an arranger and composer for several original musicals. With examples from The Quest (2017) and Artful Dodgers (2018), I show how the different types of pastiche at the level of both composition (e.g. harmonic/melodic language) and sound-world (instrumentation/arrangement) may add greater depth and nuance to the characters and narratives of the musicals. \n","downloadable_attachments":[{"id":61853800,"asset_id":41696065,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3298392,"first_name":"Nick","last_name":"Braae","domain_name":"wintec","page_name":"NickBraae","display_name":"Nick Braae","profile_url":"https://wintec.academia.edu/NickBraae?f_ri=170697","photo":"https://0.academia-photos.com/3298392/1097345/11460634/s65_nick.braae.jpg"}],"research_interests":[{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=170697","nofollow":true},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=170697","nofollow":true},{"id":32038,"name":"Popular musicology","url":"https://www.academia.edu/Documents/in/Popular_musicology?f_ri=170697","nofollow":true},{"id":85319,"name":"Broadway Musical Theatre","url":"https://www.academia.edu/Documents/in/Broadway_Musical_Theatre?f_ri=170697","nofollow":true},{"id":86601,"name":"Contemporary Musical Theatre","url":"https://www.academia.edu/Documents/in/Contemporary_Musical_Theatre?f_ri=170697"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697"},{"id":852799,"name":"Musical Styles","url":"https://www.academia.edu/Documents/in/Musical_Styles?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_49285090" data-work_id="49285090" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/49285090/The_Functions_of_Continuous_Processes_in_Contemporary_Electronic_Dance_Music">The Functions of Continuous Processes in Contemporary Electronic Dance Music</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This article discusses the functions of continuous processes in contemporary electronic dance music (EDM), providing an analytical framework for discussing their structural and aesthetic roles in this repertoire. Continuous processes are... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_49285090" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article discusses the functions of continuous processes in contemporary electronic dance music (EDM), providing an analytical framework for discussing their structural and aesthetic roles in this repertoire. Continuous processes are musical gestures with continuous changes to musical parameters, rather than discrete, "step-by-step" ones. Examples include pitch slides (glissandos), crescendos, fade ins, accelerandos, and filter sweeps. Continuous processes in this repertoire are created with "continuous controllers" such as sliders and knobs, or are programmed into tracks with "automation curves." Functionally, continuous processes often provide sonic instructions for dancers. They can be used by creators at strategic times to provide ornamentation, orientation (often accompanied by intensification or de-intensification), or disorientation (usually in breakdown sections). This article adds to existing analytical scholarship by drawing a ention to the many roles of continuous processes in EDM, and showing how they contribute to the emotional waves experienced when listening to this music.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/49285090" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0741877b6fb0108e0db0907da001695f" rel="nofollow" data-download="{"attachment_id":67669441,"asset_id":49285090,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/67669441/download_file?st=MTc0MDYzMTg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="28755942" href="https://osu1.academia.edu/JeremySmith">Jeremy W . Smith</a><script data-card-contents-for-user="28755942" type="text/json">{"id":28755942,"first_name":"Jeremy","last_name":"Smith","domain_name":"osu1","page_name":"JeremySmith","display_name":"Jeremy W . Smith","profile_url":"https://osu1.academia.edu/JeremySmith?f_ri=170697","photo":"https://0.academia-photos.com/28755942/10284027/72518419/s65_jeremy.smith.jpg"}</script></span></span></li><li class="js-paper-rank-work_49285090 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="49285090"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 49285090, container: ".js-paper-rank-work_49285090", }); });</script></li><li class="js-percentile-work_49285090 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 49285090; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_49285090"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_49285090 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="49285090"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 49285090; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=49285090]").text(description); $(".js-view-count-work_49285090").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_49285090").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="49285090"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="687" rel="nofollow" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1056" rel="nofollow" href="https://www.academia.edu/Documents/in/Popular_Music_Studies">Popular Music Studies</a>, <script data-card-contents-for-ri="1056" type="text/json">{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" rel="nofollow" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="28879" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_analysis">Music analysis</a><script data-card-contents-for-ri="28879" type="text/json">{"id":28879,"name":"Music analysis","url":"https://www.academia.edu/Documents/in/Music_analysis?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=49285090]'), work: {"id":49285090,"title":"The Functions of Continuous Processes in Contemporary Electronic Dance Music","created_at":"2021-06-18T13:04:49.851-07:00","url":"https://www.academia.edu/49285090/The_Functions_of_Continuous_Processes_in_Contemporary_Electronic_Dance_Music?f_ri=170697","dom_id":"work_49285090","summary":"This article discusses the functions of continuous processes in contemporary electronic dance music (EDM), providing an analytical framework for discussing their structural and aesthetic roles in this repertoire. Continuous processes are musical gestures with continuous changes to musical parameters, rather than discrete, \"step-by-step\" ones. Examples include pitch slides (glissandos), crescendos, fade ins, accelerandos, and filter sweeps. Continuous processes in this repertoire are created with \"continuous controllers\" such as sliders and knobs, or are programmed into tracks with \"automation curves.\" Functionally, continuous processes often provide sonic instructions for dancers. They can be used by creators at strategic times to provide ornamentation, orientation (often accompanied by intensification or de-intensification), or disorientation (usually in breakdown sections). This article adds to existing analytical scholarship by drawing a ention to the many roles of continuous processes in EDM, and showing how they contribute to the emotional waves experienced when listening to this music.","downloadable_attachments":[{"id":67669441,"asset_id":49285090,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":28755942,"first_name":"Jeremy","last_name":"Smith","domain_name":"osu1","page_name":"JeremySmith","display_name":"Jeremy W . Smith","profile_url":"https://osu1.academia.edu/JeremySmith?f_ri=170697","photo":"https://0.academia-photos.com/28755942/10284027/72518419/s65_jeremy.smith.jpg"}],"research_interests":[{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=170697","nofollow":true},{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=170697","nofollow":true},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=170697","nofollow":true},{"id":28879,"name":"Music analysis","url":"https://www.academia.edu/Documents/in/Music_analysis?f_ri=170697","nofollow":true},{"id":30757,"name":"Electronic Dance Music","url":"https://www.academia.edu/Documents/in/Electronic_Dance_Music?f_ri=170697"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45191052" data-work_id="45191052" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45191052/De_l_ubiquit%C3%A9_po%C3%AF%C3%A9tique_dans_l_oeuvre_de_Iannis_Xenakis_Espace_Temps_Musique_Architecture">De l’ubiquité poïétique dans l’oeuvre de Iannis Xenakis — Espace, Temps, Musique, Architecture</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In both fields of his creative activity, music and architecture, Iannis Xenakis appears to have used sometimes identical concepts. The purpose of this paper is to inquire into the way Xenakis elaborated links between both areas: is it a... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45191052" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In both fields of his creative activity, music and architecture, Iannis Xenakis appears to have used sometimes identical concepts. The purpose of this paper is to inquire into the way Xenakis elaborated links between both areas: is it a pure ubiquity of the same poietical principle or rather a transfer of a genuine concept of a field to another where it is heterogeneous and totally new? Studying the connections of contemporary works as Metastasis and Couvent de la Tourette, two main principles appear as ubiquitous in both works: the use of permutations and the construction of a proportional system in spatial and temporal dimensions. On the other hand, Metastasis’ glissandi and the Philips Pavilion’s hyperbolic paraboloids, which show up Xenakis’ interest for continuous phenomena, are a matter of transfer and present noticeable perceptual differences from a field to another. Xenakis finally melted both spatial and temporal dimensions in the<br />« sound cinematic » he elaborated in either electroacoustical and instrumental music in the sixties and seventies. In Persephassa and Windungen, emblematic examples of this cinematic, sound speed in space appears as a new compositional parameter.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45191052" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a424b307922ef351f113de14192b1b63" rel="nofollow" data-download="{"attachment_id":65779663,"asset_id":45191052,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65779663/download_file?st=MTc0MDYzMTg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="184388982" href="https://univ-lorraine.academia.edu/AnneSylvieBarthelCalvet">Anne-Sylvie Barthel-Calvet</a><script data-card-contents-for-user="184388982" type="text/json">{"id":184388982,"first_name":"Anne-Sylvie","last_name":"Barthel-Calvet","domain_name":"univ-lorraine","page_name":"AnneSylvieBarthelCalvet","display_name":"Anne-Sylvie Barthel-Calvet","profile_url":"https://univ-lorraine.academia.edu/AnneSylvieBarthelCalvet?f_ri=170697","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_45191052 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45191052"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45191052, container: ".js-paper-rank-work_45191052", }); 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$(".js-view-count[data-work-id=45191052]").text(description); $(".js-view-count-work_45191052").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_45191052").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="45191052"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="671" rel="nofollow" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1372" rel="nofollow" href="https://www.academia.edu/Documents/in/Architecture">Architecture</a>, <script data-card-contents-for-ri="1372" type="text/json">{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5217" rel="nofollow" href="https://www.academia.edu/Documents/in/Genetic_Criticism_Genetic_Criticism_">Genetic Criticism (Genetic Criticism)</a>, <script data-card-contents-for-ri="5217" type="text/json">{"id":5217,"name":"Genetic Criticism (Genetic Criticism)","url":"https://www.academia.edu/Documents/in/Genetic_Criticism_Genetic_Criticism_?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="170697" rel="nofollow" href="https://www.academia.edu/Documents/in/Musical_Analysis">Musical Analysis</a><script data-card-contents-for-ri="170697" type="text/json">{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=45191052]'), work: {"id":45191052,"title":"De l’ubiquité poïétique dans l’oeuvre de Iannis Xenakis — Espace, Temps, Musique, Architecture","created_at":"2021-02-25T13:45:02.620-08:00","url":"https://www.academia.edu/45191052/De_l_ubiquit%C3%A9_po%C3%AF%C3%A9tique_dans_l_oeuvre_de_Iannis_Xenakis_Espace_Temps_Musique_Architecture?f_ri=170697","dom_id":"work_45191052","summary":"In both fields of his creative activity, music and architecture, Iannis Xenakis appears to have used sometimes identical concepts. The purpose of this paper is to inquire into the way Xenakis elaborated links between both areas: is it a pure ubiquity of the same poietical principle or rather a transfer of a genuine concept of a field to another where it is heterogeneous and totally new? Studying the connections of contemporary works as Metastasis and Couvent de la Tourette, two main principles appear as ubiquitous in both works: the use of permutations and the construction of a proportional system in spatial and temporal dimensions. On the other hand, Metastasis’ glissandi and the Philips Pavilion’s hyperbolic paraboloids, which show up Xenakis’ interest for continuous phenomena, are a matter of transfer and present noticeable perceptual differences from a field to another. Xenakis finally melted both spatial and temporal dimensions in the\n« sound cinematic » he elaborated in either electroacoustical and instrumental music in the sixties and seventies. In Persephassa and Windungen, emblematic examples of this cinematic, sound speed in space appears as a new compositional parameter.","downloadable_attachments":[{"id":65779663,"asset_id":45191052,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":184388982,"first_name":"Anne-Sylvie","last_name":"Barthel-Calvet","domain_name":"univ-lorraine","page_name":"AnneSylvieBarthelCalvet","display_name":"Anne-Sylvie Barthel-Calvet","profile_url":"https://univ-lorraine.academia.edu/AnneSylvieBarthelCalvet?f_ri=170697","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=170697","nofollow":true},{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture?f_ri=170697","nofollow":true},{"id":5217,"name":"Genetic Criticism (Genetic Criticism)","url":"https://www.academia.edu/Documents/in/Genetic_Criticism_Genetic_Criticism_?f_ri=170697","nofollow":true},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true},{"id":227821,"name":"Iannis Xenakis","url":"https://www.academia.edu/Documents/in/Iannis_Xenakis?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_6923299" data-work_id="6923299" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/6923299/Review_of_Irving_Berlin_Songs_from_the_Melting_Pot_The_Formative_Years_1907_1914_by_Charles_Hamm">Review of Irving Berlin: Songs from the Melting Pot: The Formative Years, 1907-1914, by Charles Hamm</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/6923299" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="48f758a10faa90c9e6fd8bf88007be64" rel="nofollow" data-download="{"attachment_id":33598666,"asset_id":6923299,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/33598666/download_file?st=MTc0MDYzMTg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa 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data-has-card-for-ri="1056" rel="nofollow" href="https://www.academia.edu/Documents/in/Popular_Music_Studies">Popular Music Studies</a>, <script data-card-contents-for-ri="1056" type="text/json">{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" rel="nofollow" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="27657" rel="nofollow" href="https://www.academia.edu/Documents/in/Jazz_Theory">Jazz Theory</a>, <script data-card-contents-for-ri="27657" type="text/json">{"id":27657,"name":"Jazz Theory","url":"https://www.academia.edu/Documents/in/Jazz_Theory?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="28879" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_analysis">Music analysis</a><script data-card-contents-for-ri="28879" type="text/json">{"id":28879,"name":"Music analysis","url":"https://www.academia.edu/Documents/in/Music_analysis?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=6923299]'), work: {"id":6923299,"title":"Review of Irving Berlin: Songs from the Melting Pot: The Formative Years, 1907-1914, by Charles Hamm","created_at":"2014-04-30T14:45:21.945-07:00","url":"https://www.academia.edu/6923299/Review_of_Irving_Berlin_Songs_from_the_Melting_Pot_The_Formative_Years_1907_1914_by_Charles_Hamm?f_ri=170697","dom_id":"work_6923299","summary":null,"downloadable_attachments":[{"id":33598666,"asset_id":6923299,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7895,"first_name":"David Carson","last_name":"Berry","domain_name":"uc","page_name":"DavidCarsonBerry","display_name":"David Carson Berry","profile_url":"https://uc.academia.edu/DavidCarsonBerry?f_ri=170697","photo":"https://0.academia-photos.com/7895/2657560/73614155/s65_david_carson.berry.jpeg"}],"research_interests":[{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=170697","nofollow":true},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=170697","nofollow":true},{"id":27657,"name":"Jazz Theory","url":"https://www.academia.edu/Documents/in/Jazz_Theory?f_ri=170697","nofollow":true},{"id":28879,"name":"Music analysis","url":"https://www.academia.edu/Documents/in/Music_analysis?f_ri=170697","nofollow":true},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697"},{"id":686439,"name":"Tin Pan Alley","url":"https://www.academia.edu/Documents/in/Tin_Pan_Alley?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35398033" data-work_id="35398033" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35398033/Musical_Creativity_in_Twentieth_Century_China_Abing_His_Music_and_Its_Changing_Meanings_Part_1">Musical Creativity in Twentieth-Century China: Abing, His Music, and Its Changing Meanings, Part 1</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">scan of opening pages and Introduction</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35398033" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="616fc7bb062a795606474cf407792d84" rel="nofollow" data-download="{"attachment_id":55258409,"asset_id":35398033,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen 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style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35398033"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1987" rel="nofollow" href="https://www.academia.edu/Documents/in/Ethnomusicology">Ethnomusicology</a>, <script data-card-contents-for-ri="1987" type="text/json">{"id":1987,"name":"Ethnomusicology","url":"https://www.academia.edu/Documents/in/Ethnomusicology?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="12108" rel="nofollow" href="https://www.academia.edu/Documents/in/China">China</a>, <script data-card-contents-for-ri="12108" type="text/json">{"id":12108,"name":"China","url":"https://www.academia.edu/Documents/in/China?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="14265" rel="nofollow" href="https://www.academia.edu/Documents/in/Chinese_Music">Chinese Music</a>, <script data-card-contents-for-ri="14265" type="text/json">{"id":14265,"name":"Chinese Music","url":"https://www.academia.edu/Documents/in/Chinese_Music?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="170697" rel="nofollow" href="https://www.academia.edu/Documents/in/Musical_Analysis">Musical Analysis</a><script data-card-contents-for-ri="170697" type="text/json">{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35398033]'), work: {"id":35398033,"title":"Musical Creativity in Twentieth-Century China: Abing, His Music, and Its Changing Meanings, Part 1","created_at":"2017-12-11T02:04:29.992-08:00","url":"https://www.academia.edu/35398033/Musical_Creativity_in_Twentieth_Century_China_Abing_His_Music_and_Its_Changing_Meanings_Part_1?f_ri=170697","dom_id":"work_35398033","summary":"scan of opening pages and Introduction","downloadable_attachments":[{"id":55258409,"asset_id":35398033,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":66062,"first_name":"Jonathan","last_name":"Stock","domain_name":"ucc-ie","page_name":"JonathanStock","display_name":"Jonathan Stock","profile_url":"https://ucc-ie.academia.edu/JonathanStock?f_ri=170697","photo":"https://0.academia-photos.com/66062/18596/22260699/s65_jonathan.stock.jpg"}],"research_interests":[{"id":1987,"name":"Ethnomusicology","url":"https://www.academia.edu/Documents/in/Ethnomusicology?f_ri=170697","nofollow":true},{"id":12108,"name":"China","url":"https://www.academia.edu/Documents/in/China?f_ri=170697","nofollow":true},{"id":14265,"name":"Chinese Music","url":"https://www.academia.edu/Documents/in/Chinese_Music?f_ri=170697","nofollow":true},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38811009" data-work_id="38811009" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38811009/The_Tritonet_Approach_to_Music_Theory">The Tritonet Approach to Music Theory</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">‘Music’ is the sum of vibrations created by an intelligence. ‘Theory’ is the evaluation of the bonds between these vibrations. This book proposes a new theoretical model, Tritonet, that provides a unique approach to music theory by... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38811009" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">‘Music’ is the sum of vibrations created by an intelligence. ‘Theory’ is the evaluation of the bonds between these vibrations.<br /><br />This book proposes a new theoretical model, Tritonet, that provides a unique approach to music theory by reintroducing the ‘Circle of Fifths’. It offers additional components that turn the circle into a musical calculator, which can be used to construct musical structures visually.<br /><br />Inspired by a three thousand year-old tablet, the book pays homage to past and present music, while looking towards the future with ‘ResTens’ (modular voice leading) and ‘Cyclic Music’ (tonality cycles).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38811009" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f0592c6490815aee094706acb33b5921" rel="nofollow" data-download="{"attachment_id":58902703,"asset_id":38811009,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58902703/download_file?st=MTc0MDYzMTg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2618436" href="https://bilgi.academia.edu/tolgazafer">Tolga Zafer Özdemir</a><script data-card-contents-for-user="2618436" type="text/json">{"id":2618436,"first_name":"Tolga Zafer","last_name":"Özdemir","domain_name":"bilgi","page_name":"tolgazafer","display_name":"Tolga Zafer Özdemir","profile_url":"https://bilgi.academia.edu/tolgazafer?f_ri=170697","photo":"https://gravatar.com/avatar/8e62deace5a2d245697e577e857ecf6c?s=65"}</script></span></span></li><li class="js-paper-rank-work_38811009 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38811009"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38811009, container: ".js-paper-rank-work_38811009", }); 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$(".js-view-count[data-work-id=38811009]").text(description); $(".js-view-count-work_38811009").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38811009").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38811009"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="671" rel="nofollow" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="170697" rel="nofollow" href="https://www.academia.edu/Documents/in/Musical_Analysis">Musical Analysis</a>, <script data-card-contents-for-ri="170697" type="text/json">{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="511174" rel="nofollow" href="https://www.academia.edu/Documents/in/Harmony_musical">Harmony musical</a>, <script data-card-contents-for-ri="511174" type="text/json">{"id":511174,"name":"Harmony musical","url":"https://www.academia.edu/Documents/in/Harmony_musical?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2912246" rel="nofollow" href="https://www.academia.edu/Documents/in/Circle_of_Fifths">Circle of Fifths</a><script data-card-contents-for-ri="2912246" type="text/json">{"id":2912246,"name":"Circle of Fifths","url":"https://www.academia.edu/Documents/in/Circle_of_Fifths?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38811009]'), work: {"id":38811009,"title":"The Tritonet Approach to Music Theory","created_at":"2019-04-14T23:24:26.252-07:00","url":"https://www.academia.edu/38811009/The_Tritonet_Approach_to_Music_Theory?f_ri=170697","dom_id":"work_38811009","summary":"‘Music’ is the sum of vibrations created by an intelligence. ‘Theory’ is the evaluation of the bonds between these vibrations.\n\nThis book proposes a new theoretical model, Tritonet, that provides a unique approach to music theory by reintroducing the ‘Circle of Fifths’. It offers additional components that turn the circle into a musical calculator, which can be used to construct musical structures visually.\n\nInspired by a three thousand year-old tablet, the book pays homage to past and present music, while looking towards the future with ‘ResTens’ (modular voice leading) and ‘Cyclic Music’ (tonality cycles).","downloadable_attachments":[{"id":58902703,"asset_id":38811009,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2618436,"first_name":"Tolga Zafer","last_name":"Özdemir","domain_name":"bilgi","page_name":"tolgazafer","display_name":"Tolga Zafer Özdemir","profile_url":"https://bilgi.academia.edu/tolgazafer?f_ri=170697","photo":"https://gravatar.com/avatar/8e62deace5a2d245697e577e857ecf6c?s=65"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=170697","nofollow":true},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true},{"id":511174,"name":"Harmony musical","url":"https://www.academia.edu/Documents/in/Harmony_musical?f_ri=170697","nofollow":true},{"id":2912246,"name":"Circle of Fifths","url":"https://www.academia.edu/Documents/in/Circle_of_Fifths?f_ri=170697","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37081566" data-work_id="37081566" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37081566/Canon_a13_from_the_Eton_Choirbook_Robert_Wylkynson_c_1450_c_1515_Jesus_autem_transiens_Credo_in_Deum_Source_Eton_College_Library_Eton_England_GB_WRec_MS_178_fol_126v_">Canon a13 from the Eton Choirbook (Robert Wylkynson, c. 1450 - c. 1515), "Jesus autem transiens, Credo in Deum" (Source: Eton College Library, Eton, England (GB-WRec), MS 178, fol. 126v.)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Complete transcription and reconstruction of the canon a13 for Christ and his Twelve Disciples on the Apostles Creed. This piece is found in both the Eton Choirbook and the Baldwin Manuscript. This edition contained both the fully... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37081566" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Complete transcription and reconstruction of the canon a13 for Christ and his Twelve Disciples on the Apostles Creed. This piece is found in both the Eton Choirbook and the Baldwin Manuscript. This edition contained both the fully realized canon as well as a modern reconstruction of the original monophonic version of the canon, as found in the manuscripts. <br /> <br />For a recording with a score animation see the link below: <br /><a href="https://www.youtube.com/watch?v=TBu66rLAv7I" rel="nofollow">https://www.youtube.com/watch?v=TBu66rLAv7I</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37081566" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e24f24f117fafa9ecb7b1c303e841295" rel="nofollow" data-download="{"attachment_id":57033591,"asset_id":37081566,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57033591/download_file?st=MTc0MDYzMTg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6283566" href="https://florida.academia.edu/JordanAlexanderKey">Jordan Alexander Key</a><script data-card-contents-for-user="6283566" type="text/json">{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander Key","profile_url":"https://florida.academia.edu/JordanAlexanderKey?f_ri=170697","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_37081566 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37081566"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37081566, container: ".js-paper-rank-work_37081566", }); 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Using a comparative analysis of the opening scenes from the operas Elektra and Das Mädchen mit den Schwefelhölzern, the author examines similarities of structural and sonic approach in the categories of syntax, ideal of transformative sound, virtuosity, compositional rigour, economy of means and form, arriving at the conclusion that while the richness and beauty of Strauss’s orchestral sound are transformed into a very different sonic world in Lachenmann, they lose none of their significance as ideals nonetheless.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44348707" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ddc49e34b605ca1a139337e3d6b5200f" rel="nofollow" data-download="{"attachment_id":64741750,"asset_id":44348707,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64741750/download_file?st=MTc0MDYzMTg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="168053091" href="https://independent.academia.edu/TobiasSchick">Tobias Schick</a><script data-card-contents-for-user="168053091" type="text/json">{"id":168053091,"first_name":"Tobias","last_name":"Schick","domain_name":"independent","page_name":"TobiasSchick","display_name":"Tobias Schick","profile_url":"https://independent.academia.edu/TobiasSchick?f_ri=170697","photo":"https://0.academia-photos.com/168053091/47482014/36358901/s65_tobias.schick.jpg"}</script></span></span></li><li class="js-paper-rank-work_44348707 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44348707"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44348707, container: ".js-paper-rank-work_44348707", }); 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$(".js-view-count[data-work-id=44348707]").text(description); $(".js-view-count-work_44348707").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44348707").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44348707"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="9721" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_Aesthetics">Music Aesthetics</a>, <script data-card-contents-for-ri="9721" type="text/json">{"id":9721,"name":"Music Aesthetics","url":"https://www.academia.edu/Documents/in/Music_Aesthetics?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="140474" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Classical_Music">Contemporary Classical Music</a>, <script data-card-contents-for-ri="140474" type="text/json">{"id":140474,"name":"Contemporary Classical Music","url":"https://www.academia.edu/Documents/in/Contemporary_Classical_Music?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="170697" rel="nofollow" href="https://www.academia.edu/Documents/in/Musical_Analysis">Musical Analysis</a><script data-card-contents-for-ri="170697" type="text/json">{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44348707]'), work: {"id":44348707,"title":"Helmut Lachenmann und Richard Strauss","created_at":"2020-10-22T04:56:31.352-07:00","url":"https://www.academia.edu/44348707/Helmut_Lachenmann_und_Richard_Strauss?f_ri=170697","dom_id":"work_44348707","summary":"Helmut Lachenmann and Richard Strauss\nContrary to popular readings of music history, this essay posits an affinity between Helmut Lachenmann and Richard Strauss based on the kinship of their basic aesthetic stances across stylistic boundaries. Using a comparative analysis of the opening scenes from the operas Elektra and Das Mädchen mit den Schwefelhölzern, the author examines similarities of structural and sonic approach in the categories of syntax, ideal of transformative sound, virtuosity, compositional rigour, economy of means and form, arriving at the conclusion that while the richness and beauty of Strauss’s orchestral sound are transformed into a very different sonic world in Lachenmann, they lose none of their significance as ideals nonetheless.","downloadable_attachments":[{"id":64741750,"asset_id":44348707,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":168053091,"first_name":"Tobias","last_name":"Schick","domain_name":"independent","page_name":"TobiasSchick","display_name":"Tobias Schick","profile_url":"https://independent.academia.edu/TobiasSchick?f_ri=170697","photo":"https://0.academia-photos.com/168053091/47482014/36358901/s65_tobias.schick.jpg"}],"research_interests":[{"id":9721,"name":"Music Aesthetics","url":"https://www.academia.edu/Documents/in/Music_Aesthetics?f_ri=170697","nofollow":true},{"id":140474,"name":"Contemporary Classical Music","url":"https://www.academia.edu/Documents/in/Contemporary_Classical_Music?f_ri=170697","nofollow":true},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39922713" data-work_id="39922713" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39922713/Raum_Sprache_und_das_Unaussprechliche_in_Luisa_Miller_">Raum, Sprache und das Unaussprechliche in «Luisa Miller»</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This essay examines not only the transformative process from the literary source (Kabale und Liebe) to the operatic realization (Luisa Miller), but also the compositional and dramaturgical strategies that reveal a new aesthetic... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39922713" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This essay examines not only the transformative process from the literary source (Kabale und Liebe) to the operatic realization (Luisa Miller), but also the compositional and dramaturgical strategies that reveal a new aesthetic perspective in Verdi's opera. ln the first part, the role and function of 'offstage music' is analysed with particular attention to its ,spatial, implications. ln the second part, it is argued that Luisa's prayers in the most crucial moments of the opera as well as her gestural and mimetic reactions can be interpreted as a kind of inability or difficulty of verbal expression: this is a sign of the social stratification of the characters of the drama, but also reflects Luisa's attitude towards life and thus, in essence, the inevitability of the tragedy. <br />Finally, this essay aims to demonstrate that the musical and aesthetic solutions developed by Verdi and Cammarano were used to define an intense and claustrophobic dramaturgy that explores Luisa's psychology, blurring the boundaries between onstage, visual, verbal, and musical aspects.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue 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href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="946" rel="nofollow" href="https://www.academia.edu/Documents/in/Musical_Theatre">Musical Theatre</a>, <script data-card-contents-for-ri="946" type="text/json">{"id":946,"name":"Musical Theatre","url":"https://www.academia.edu/Documents/in/Musical_Theatre?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="947" rel="nofollow" href="https://www.academia.edu/Documents/in/Theatre_Studies">Theatre Studies</a>, <script data-card-contents-for-ri="947" type="text/json">{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=170697","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3294" rel="nofollow" href="https://www.academia.edu/Documents/in/Dramaturgy">Dramaturgy</a><script data-card-contents-for-ri="3294" type="text/json">{"id":3294,"name":"Dramaturgy","url":"https://www.academia.edu/Documents/in/Dramaturgy?f_ri=170697","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39922713]'), work: {"id":39922713,"title":"Raum, Sprache und das Unaussprechliche in «Luisa Miller»","created_at":"2019-07-25T02:41:05.025-07:00","url":"https://www.academia.edu/39922713/Raum_Sprache_und_das_Unaussprechliche_in_Luisa_Miller_?f_ri=170697","dom_id":"work_39922713","summary":"This essay examines not only the transformative process from the literary source (Kabale und Liebe) to the operatic realization (Luisa Miller), but also the compositional and dramaturgical strategies that reveal a new aesthetic perspective in Verdi's opera. ln the first part, the role and function of 'offstage music' is analysed with particular attention to its ,spatial, implications. ln the second part, it is argued that Luisa's prayers in the most crucial moments of the opera as well as her gestural and mimetic reactions can be interpreted as a kind of inability or difficulty of verbal expression: this is a sign of the social stratification of the characters of the drama, but also reflects Luisa's attitude towards life and thus, in essence, the inevitability of the tragedy.\r\nFinally, this essay aims to demonstrate that the musical and aesthetic solutions developed by Verdi and Cammarano were used to define an intense and claustrophobic dramaturgy that explores Luisa's psychology, blurring the boundaries between onstage, visual, verbal, and musical aspects.","downloadable_attachments":[{"id":60111416,"asset_id":39922713,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":720333,"first_name":"Vincenzina Caterina","last_name":"Ottomano","domain_name":"unive","page_name":"VincenzinaCaterinaOttomano","display_name":"Vincenzina Caterina Ottomano","profile_url":"https://unive.academia.edu/VincenzinaCaterinaOttomano?f_ri=170697","photo":"https://0.academia-photos.com/720333/245882/290687/s65_vincenzina_caterina.ottomano.jpg"}],"research_interests":[{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=170697","nofollow":true},{"id":946,"name":"Musical Theatre","url":"https://www.academia.edu/Documents/in/Musical_Theatre?f_ri=170697","nofollow":true},{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=170697","nofollow":true},{"id":3294,"name":"Dramaturgy","url":"https://www.academia.edu/Documents/in/Dramaturgy?f_ri=170697","nofollow":true},{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=170697"},{"id":25134,"name":"Giuseppe Verdi","url":"https://www.academia.edu/Documents/in/Giuseppe_Verdi?f_ri=170697"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=170697"},{"id":245087,"name":"Opera Studies","url":"https://www.academia.edu/Documents/in/Opera_Studies?f_ri=170697"},{"id":462795,"name":"History of opera","url":"https://www.academia.edu/Documents/in/History_of_opera?f_ri=170697"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_46154316" data-work_id="46154316" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/46154316/La_aguerrida_do%C3%B1a_Mar%C3%ADa_de_Jes%C3%BAs_Mu%C3%B1oz_de_Carre%C3%B1o_esposa_madre_y_abuela_de_m%C3%BAsicos_independentistas_de_Venezuela">La aguerrida doña María de Jesús Muñoz de Carreño: esposa, madre y abuela de músicos independentistas de Venezuela</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Las  vicisitudes de la aguerrida María de Jesús Muñoz, esposa del maestro de capilla José Cayetano Carreño, por el cobro de una deuda de 300 pesos a su marido.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/46154316" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="cde718568ae0839482a21fc7b98370e8" rel="nofollow" data-download="{"attachment_id":66216693,"asset_id":46154316,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/66216693/download_file?st=MTc0MDYzMTg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="190033531" href="https://anhvenezuela.academia.edu/DavidCoifmanMichailos">David Coifman Michailos</a><script data-card-contents-for-user="190033531" 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work_33057628" data-work_id="33057628" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33057628/RIZEK_Ricardo_Quadrados_M%C3%A1gicos_Revista_Polifonia_SP_1997_pdf">RIZEK, Ricardo - Quadrados Mágicos - Revista Polifonia, SP 1997.pdf</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Artigo sobre quadrados mágicos publicado na Revista Polifonia No 1 em 1997.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33057628" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" 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música","url":"https://www.academia.edu/Documents/in/Matematica_e_musica?f_ri=170697","nofollow":true},{"id":1440019,"name":"FILOSOFIA PERENE","url":"https://www.academia.edu/Documents/in/FILOSOFIA_PERENE?f_ri=170697","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_30681246" data-work_id="30681246" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/30681246/Noting_Images_Understanding_the_Illustrated_Manuscripts_of_Mendelssohns_Schilflied">Noting Images: Understanding the Illustrated Manuscripts of Mendelssohn's Schilflied</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Felix Mendelssohn and Paul Hindemith, composing about one hundred years apart, integrated visual elements, including drawings and illustrated notations, into musical manuscripts they designed as gifts for women they admired. The two... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30681246" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Felix Mendelssohn and Paul Hindemith, composing about one hundred years apart, integrated visual elements, including drawings and illustrated notations, into musical manuscripts they designed as gifts for women they admired. The two documents, illustrating Mendelssohn’s Schilflied (1842) and Hindemith’s Ludus Tonalis (1942), are strong declarations of compositional and artistic ideology. This article examines the scores as reflecting, respectively, aspects of nineteenth-century and early twentieth-century conceptions of musical composition and form, and their relation to visual media.<br /><br />NB: Translated by Farshad Moshfeghi for Iran's Music Report Magazine (2012)</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30681246" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="01a3b513de88c1e5bbe93ff5af0ad7ff" rel="nofollow" data-download="{"attachment_id":51122280,"asset_id":30681246,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51122280/download_file?st=MTc0MDYzMTg0MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="24888759" href="https://yale.academia.edu/DanielWalden">Daniel K . 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