hprints.org Nordisk humaniora-eprintarkiv - the Nordic arts and humanities e-print archive
Not a member yet
390 research outputs found
Sort by
Música experimental, técnicas estendidas e práticas criativas como ferramentas decoloniais: um relato de várias torções e tensões
No full textInternational audienc
« La truite » de Schubert, du lied au quintette et de retour au lied : une analyse contextuelle de la paire
No full textFranz Schubert wrote his masterpiece, the Lied Die Forelle, from the namesake light-hearted imaginative poem by C.F.D. Schubart, but by eliminating the last stanza from the Lied, he left the music and the text mismatched at the end and also left the fate of the trout in question. The Piano quintet in A “The Trout”, which was commissioned with the request that it be based on the Lied, was his answer to the above question. Indeed, the musical materials of stanzas #1 and 2, where the fish is joyously swimming, dominate the quintet, indicating that Schubert decided to let the fish escape and flourish in the quintet. He also used numerous musical formulations depicting the beauty of the watery world, formulations which were found in his many Lieder prior to the quintet. Moreover, a detailed analysis of the quintet, structurally and contextually, allowed us to suggest that Schubert formulated the quintet using the structure and narrative of the poem, which was transformed from the point of view of the poet to that of the trout. Thus the last stanza (#4) turned into an advice from the escaped trout to young female trout. Consequently quintet movements #1, 2, 3, and 4 corresponded to poem stanzas #1, 2, 3, and 4, respectively, followed by the last movement (#5) as the proverbial “they lived happily ever after”. Specifically, movement 4 (theme and variations) is suggested to be a musical depiction of the lecture given by the fish herself to the audience of young fish as follows: Thema (introduction), Variation I (my peaceful life in a brook), Variation II (the appearance of a fisherman), Variation III (teasing of the fisherman), Variation IV (getting caught, escaping and a long painful recovery), Variation V-Andante (the lesson I learnt and what I recommend, - and the audience responding), Variation V-Allegretto (fish dispersing, each vowing to be safe and free). It appears that Schubert took the terms of commission, - that the quintet was to be “based” on the Lied - very seriously. His effort resulted in a piece that is always enjoyable and can also be seen as a precursor to program music, which flourished much later in the Romantic period. Two years after the completion of the quintet, Schubert made the last revision to his Lied Die Forelle (version #5) with numerous changes which made the pair closely aligned to each other, opening the possibility of an integrated performance of the pair.Franz Schubert a écrit son chef-d'œuvre, le lied Die Forelle, à partir du poème imaginatif léger du même nom de C.F.D. Schubart. Mais en éliminant la dernière strophe du lied, il a rendu la musique et le texte incohérents à la fin et a également mis de côté le sort de la truite en question. Le quintette avec piano en la « La truite », qui a été commandé avec la demande qu'il soit basé sur le lied, a été sa réponse à la question ci-dessus. En effet, le matériel musical des strophes n° 1 et 2, où le poisson nage joyeusement, domine le quintette, indiquant que Schubert a décidé de laisser le poisson s'échapper et s'épanouir dans le quintette. Il a également utilisé de nombreuses formulations musicales illustrant la beauté du monde aquatique, formulations que l'on retrouve dans ses nombreux lieder avant le quintette. De plus, une analyse détaillée du quintette, structurellement et contextuellement, nous a permis de suggérer que Schubert a formulé le quintette en utilisant la structure et le récit du poème, qui a été transformé du point de vue du poète à celui de la truite. Ainsi la dernière strophe (n° 4) s'est transformée en un conseil de la truite qui s’est échappée à la jeune truite femelle. Par conséquent, les mouvements de quintette n° 1, 2, 3 et 4 correspondaient aux strophes de poème n° 1, 2, 3 et 4, respectivement, suivis du dernier mouvement (n° 5) en tant que proverbial « ils ont vécu heureux pour toujours ». Plus précisément, le mouvement 4 (thème et variations) est suggéré comme une représentation musicale de la conférence donnée par le poisson lui-même au public de jeunes poissons comme suit : Thema (introduction), Variation I (ma vie paisible dans un ruisseau), Variation II (l'apparition d'un pêcheur), Variation III (taquineries du pêcheur), Variation IV (se faire prendre, s'échapper et une longue guérison douloureuse), Variation V-Andante (la leçon que j'ai apprise et ce que je recommande, et le public qui répond), Variation V-Allegretto (les poissons se dispersent, chacun jurant d'être en sécurité et libre). Il semble que Schubert a pris les conditions de la commission, que le quintette devait être « basé » sur le lied, très au sérieux. Ses efforts ont abouti à une pièce toujours agréable et qui peut également être considérée comme un précurseur de la musique à programme, qui a prospéré beaucoup plus tard dans la période romantique. Deux ans après l'achèvement du quintette, Schubert a fait la dernière révision de son lied Die Forelle (version n° 5) avec de nombreux changements qui ont rendu la paire étroitement alignée l'une sur l'autre, ouvrant la possibilité d'une performance intégrée de la paire
Dreams, Sleep, and Shakespeare’s Genres
No full textInternational audienceThis book explores how Shakespeare uses images of dreams and sleep to define his dramatic worlds. Surveying Shakespeare’s comedies, tragedies, histories, and late plays, it argues that Shakespeare systematically exploits early modern physiological, religious, and political understandings of dreams and sleep in order to reshape conventions of dramatic genre, and to experiment with dream-inspired plots.The book discusses the significance of dreams and sleep in early modern culture, and explores the dramatic opportunities that this offered to Shakespeare and his contemporaries. It also offers new insights into how Shakespeare adapted earlier literary models of dreams and sleep – including those found in classical drama, in medieval dream visions, and in native English dramatic traditions
Toward anticipatory ubimus
No full textInternational audienceThis paper explores the emerging initiatives in ubiquitous music research that employ anticipatory systems. We provide a short introduction to the ubimus field, highlighting the differences with other technologically based approaches to music making. One of the objectives of ubimus research is to expand the range of the stakeholders that participate in creative music making. This is achieved through the development of metaphors for creative action by means of sociotechnical systems that target creativity, including ecologically based creative practices, interaction aesthetics, computational thinking and dialogics applied to music. Another objective entails a push for new forms of music making through the reappropriation of extant technologies or through the design and deployment of new behavioral, material or social resources tailored for ubiquitous music ecologies. Nevertheless, so far, few projects have considered the future creative actions as an object of research. This is the aim of anticipatory ubiquitous music
SOCIO-ECONOMIC AND HEALTH ISSUES OF THE ELDERLY: A CASE STUDY
No full textInternational audienceAs demographic ageing is a global phenomenon, in India, the population of the people aged 60 years or above has increased considerably in the last few decades. Change in socioeconomic status and various health/psychological issues adversely affect individual's standard of living and their lived-experience during old age. In this context, the study 'Socio-Economic and Health Issues of the Elderly: A Case Study', makes essential to look into the various aspects of the elderly towards their well-being and attitude towards old age. The paper attempts to address the objectives of the study through primary and secondary data of selected elderly population of 'Kanavi Karuvina Koppa' village, of Belagavi district of Karnataka state, India
Live/Acc/Patch: uma experiência coletiva internacional de programação musical ao vivo
No full textNational audienceO conceito de live coding/live patchingcontempla a programação ao vivo de eventos musicais,para a performance extemporânea,através de diversas ferramentas de programação (ou patching). A nossa proposta inicial eradesenvolver metodologias e ferramentas para a inclusão e a iniciação às práticas de live codinge live patching,para usuários não familiares com a música e a programação. Com esse intuito, consolidamos a programação musical ao vivo,como atividade criativae educacional,emnosso grupo de pesquisa, produzindoum corpus de práticas colaborativas, armazenadas na nuvem do projeto, estabelecendo uma colaboração internacional, com grupos de trabalho da Universidade Paris 8, na França, e publicandoum número de trabalhosque relataram e ilustraram os produtos criativos da nossa pesquisa
