OJS - Uni Innsbruck
Not a member yet
243 research outputs found
Sort by
‹ La question sans réponse › : programmatique ou analogie structurelle ?
Full text linkThis article explores possible links relating the composition The Unanswered Question by Charles Ives to Ralph Waldo Emerson’s poem “The Sphinx”. It starts from the observation that the title of the former is a quote drawn from the latter, and the established knowledge that the 20th-century New England composer was deeply interested in and influenced by the 19th-century movement of transcendentalism, in general, and the poet-philosopher Emerson, as one of its most famous exponents, in particular. Highlighting characteristically transcendentalist aspects in Emerson’s text, as well as its marked meta-poetic or meta-artistic dimension, it goes on to examine how these aspects might manifest themselves in Ives’ piece of music, taking into account programmatic aspects of the latter as well as potential structural analogies, and focusing on a possible meta-artistic interpretation of thebrief composition
Musicalité de la parole, mise en musique du texte. Fonctions de la ‹ poésie musicale › et de sa mise en musique dans la tragédie en musique
Full text linkLully’s and Quinault’s tragédie en musique raises the question of the linkages and coordination between two creative processes in this unique genre. On the one hand, music derives its legitimacy to a large extent from poetry. On the other, a metrical and musical analysis expanding on the account of Le Cerf de la Viéville demonstrates a range of particularities in the structuring of poetry in these works, which at times adapts to pre-existing music, and more frequently anticipates it. Mise en musique, the setting of words to music, is generally in line with poetic dynamics. However, the use of its own means allows it to introduce additional semantic content, marking the strengthening of its autonomy within the artistic system
Le rapport entre langue et musique du point de vue linguistique
Full text linkThis article, which aims to bridge the gap between musicology and linguistics, deals with the interactions of language and music. Its starting point is the question of which phonological and especially prosodic characteristics of a language come into play when it is sung, i.e. when it is subject to musical specificities. First, the concept of ‘cantability’ will be critically examined and its essential definitional elements discussed. These form the methodological basis for the musicological and linguistic analysis of opera arias in German, French, and Italian, in the frame of a research project. This project will subsequently be placed in the interdisciplinary context of the cantability of languages, the interactionof language and music, and the interaction between composer, librettist, and singer
Fare l’americano, dagli anni Cinquanta a oggi: riflessioni sulle cover versions della hit carosoniana
Full text linkSince its first release in 1956, Renato Carosone’s Neapolitan swing “Tu vuò fa’ l’americano” has been covered extensively. The interest in this piece increased significantly after 1999, thanks to its use in the movie The Talented Mr. Ripley and a number of ‘interlinguistic’ covers.This study aims at identifying the main elements, both in the lyrics and in the music of the original song, that generated this flow of alternative versions, as an attempt to discern the “patchwork of references” that has become a fundamental feature of popular music (Holm-Hudson 2002). It argues that the ironic use of national and cultural stereotypes is at the core of the process of covering “Tu vuò fa’ l’americano”, together with the fundamentally intercultural sonic and textual representation of a Neapolitan-wannabe-American. Simultaneously, the musical structure has been adopted by the covers as a sort of elastic structure from which each musician and composer can extract bits that are relevant to their artistic discourse while still retaining a recognizable relationship to the original.The article is introduced by an overview of the theoretical discussion around the process of covering that gravitates around – although not restricted to – taxonomies of covers in popular music. The central part focuses on musical and textual components that inspired artists to create different versions of “Tu vuò fa’ l’americano”. It then provides an interpretation of a substantial, albeit not exhaustive, corpus of different covers of Carosone’s hit, dividing them into typologies that aim not only at pointing out the semiotic processes involved, but also at casting light on the reasons why this song has been covered within such a vast array of linguistic and stylistic contexts
L’âge d’or de l’échantillonnage dans le rap: 1982-1992
Full text linkDigital sampling has provided new creative opportunities for DJs and hip-hop producers since inserting a ‘portion’ of a piece of music into a new piece – in its original form or after modifying some of its parameters – always creates specific effects. However, this practice has undermined the rules of intellectual property and as a consequence, as early as 1991, sampling became synonymous with piracy and those who practiced it were heavily condemned. In the final analysis, while it encouraged rappers to develop other forms of creativity, this judgment eventually closed the door on a particularly fruitful way of conceiving music
Exploring the effects of position-related information on the perception of scenario-based passing opportunities: An information integration theoretical approach
Full text linkWhen football players are preparing to pass the ball, they consider contextual information provided by the current game situation to identify passing opportunities and choose the one that appears most beneficial. In the search for contextual information indicating such opportunities, a recent study analyzing the relationships between the position-related characteristics of game situations and athletes’ passing behavior reports that athletes generally prioritize passing options based on their team members’ areal proximity, the openness of the passing lanes leading to team members, and how closely the team members are covered by the opponents. While the found relationships indicate the positional features’ relevance to the athletes’ passing behavior, the importance of single bits of positional information and their integration into subjectively perceived passing opportunities remain unknown. The aim of this study is to begin closing this gap and analyze how multiple athletes weigh and integrate position-related information within their subjective process of perceiving passing opportunities. The study uses a 3x3x3 within-subject design. Twenty-one football players provided information about the perceived quality of passing opportunities within standardized game scenarios. The data were analyzed using an information integration theoretical approach combined with mixed linear modeling. The results reveal substantial interpersonal differences regarding the importance players attribute to specific positional information and how they integrate the positional information. Two recurring patterns of information integration were found. In most of the cases, the results indicate additive information integration. However, in some cases, the results indicate that players deviate from additive information integration when a single piece of positional information seemingly dominates the athletes’ perceptions. In the future, IIT approaches can be adopted to research designs using virtual reality, including other sets and ranges of contextual information, as well as other sports and sports situations in which the integration of information into subjective perceptions is of interest
Sur un motif rythmique en musique, en vers et en prose : le contretemps
Full text linkThe article aims to study the phenomenon of the offbeat (selected both as a formal motif and as a thematic motif ) from both a rhythmic and an existential point of view. In the modern age, we are witnessing the emergence of a reflexive awareness, not only of the facts of the mind, but also of the movement of the body and its accidentals. After having clarified, with Rousseau in support, the notion of offbeat (in its dual meaning of ‘sense’ and ‘direction’), we propose to examine the various manifestations of this process in literature, theater, and music. Among the musicians figure Wagner and Debussy; among the playwrights, Beckett; among the poets Baudelaire; among the novelists, Flaubert and Prous
