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Get PDFThe relationship between music and language is one of the main axes of Western philosophy of music. In particular, the link between music and literature has fostered an intense debate that resulted in a plurality of different solutions. The present issue of "Itinera” aims at analyzing some of the fundamental questions that emerge from Azio Corghi\u27s use of literary sources in composition. The complexity of the themes that characterize Corghi\u27s work, across musicology, aesthetics and literature, leads the reader to deal with fundamental categories such as postmodernity and avant-garde, in music and beyond.The relationship between music and language is one of the main axes of Western philosophy of music. In particular, the link between music and literature has fostered an intense debate that resulted in a plurality of different solutions. The present issue of "Itinera” aims at analyzing some of the fundamental questions that emerge from Azio Corghi\u27s use of literary sources in composition. The complexity of the themes that characterize Corghi\u27s work, across musicology, aesthetics and literature, leads the reader to deal with fundamental categories such as postmodernity and avant-garde, in music and beyond
"Between structuralism and postmodernism". The musical dramaturgy of Azio Corghi in light of his artistic collaboration with Saramago
Get PDFIn this essay the author reconstructs Azio Corghi’s path to conquest of musical theater and the importance of the confrontation with José Saramago for the development of a personal musical dramaturgy. In addition, the author investigates the main dramaturgical processes adopted by Corghi in the works Blimunda and Divara and finally, he clarifies Corghi’s position towards the aesthetics of postmodernism.In this essay the author reconstructs Azio Corghi’s path to conquest of musical theater and the importance of the confrontation with José Saramago for the development of a personal musical dramaturgy. In addition, the author investigates the main dramaturgical processes adopted by Corghi in the works Blimunda and Divara and finally, he clarifies Corghi’s position towards the aesthetics of postmodernism
Synesthesia: Where does Color Exist?
Get PDFWhere does color exist? As a property of light in "red wavelengths," as a neural calculation by retinal photoreceptors, or as a calculation in the brain? The perceptual couplings of synesthesia, along with color constancy and colored shadows, suggest that color is not a property of objects: In order to be biologically useful within our environment of ever–changing illumination, the brain must assign stable colors to surfaces. Color exists only within the silent darkness of an individual skull.
Richard E. Cytowic, MD MFA is Clinical Professor of Neurology at George Washington University, and the author most recently of “Synesthesia” and “Wednesday is Indigo Blue” (MIT Press)
“Color azurei oscurissimi” Sfumature cabbalistiche in ‘Azriel di Gerona e Flavio Mitridate
Get PDFThe general topic of Colours and their symbolic significance in Kabbalah has been presented by Gershom Scholem in a well-known conference at Eranos. The present article concentrates on the quite eccentric representation of colours and their association to the ten Sefirot in the Sha’ar ha-Sho’el of ‘Azriel of Gerona, one the early Kabbalists who lived in Catalunya in the 13th century. Since the Sha‘ar ha-Sho’el, an introduction to the basic tenets of Kabbalah in the form of a philosophical dialogue, has been translated into Latin in 1486 by the converted Jew Flavius Mithridates for Giovanni Pico della Mirandola, the translation is used as a reflection of the Hebrew original in order to analyze the chromatic denominations chosen by the translator in order to render a mental picture of the colours he found described in the text with the additional difficulty that some of the colours mentioned by ‘Azriel are not univocally understood in Jewish tradition. The elusive character of colours in general is here perceived through the glass of a transcultural and transreligious linguistic rendering which, in the best event, can help interpret the original, and in the worse, can lead us to appreciate the difficulty of the task and its intrinsic reasons.The general topic of Colours and their symbolic significance in Kabbalah has been presented by Gershom Scholem in a well-known conference at Eranos. The present article concentrates on the quite eccentric representation of colours and their association to the ten Sefirot in the Sha’ar ha-Sho’el of ‘Azriel of Gerona, one the early Kabbalists who lived in Catalunya in the 13th century. Since the Sha‘ar ha-Sho’el, an introduction to the basic tenets of Kabbalah in the form of a philosophical dialogue, has been translated into Latin in 1486 by the converted Jew Flavius Mithridates for Giovanni Pico della Mirandola, the translation is used as a reflection of the Hebrew original in order to analyze the chromatic denominations chosen by the translator in order to render a mental picture of the colours he found described in the text with the additional difficulty that some of the colours mentioned by ‘Azriel are not univocally understood in Jewish tradition. The elusive character of colours in general is here perceived through the glass of a transcultural and transreligious linguistic rendering which, in the best event, can help interpret the original, and in the worse, can lead us to appreciate the difficulty of the task and its intrinsic reasons
REVIEW D. Brown, F. Macpherson (eds.), The Routledge Handbook of Philosophy of Colour, Routledge, London 2020, pp. 496, ISBN 9780415743037
Get PDF«Why has the examination of many different aspects of colour been a prominent feature in philosophy, to such an extent that the topic is worthy of a handbook?». This is the question that opens the editors’ introduction to The Routledge Handbook of Colour, whose imminent publication we are happy to announce here
Rossini round trip. Un petit train de plaisir by Azio Corghi
Get PDFThe ballet Un petit train de plaisir for two pianos and percussion by Azio Corghi is based on pieces for piano contained in Gioachino Rossini’s Pechés de vieillesse, and was performed for the first time at the Rossini Opera Festival in 1992. The comparison with the Rossini texts, that Corghi puts into effect in his compositional work, seems to configure an eccentric position both with respect to the keywords of musical aesthetics that were for a long hegemonic in the second half of the twentieth century, and with respect to the ‘post-modern’ opening that also affected music from the early seventies. Processes of sound amplification and timbre differentiation articulate a sympathetic relationship with the author of the paratexts. A relationship that takes the form of an irony understood as doubling, in which what is said tends to mean something other than what appears.The ballet Un petit train de plaisir for two pianos and percussion by Azio Corghi is based on pieces for piano contained in Gioachino Rossini’s Pechés de vieillesse, and was performed for the first time at the Rossini Opera Festival in 1992. The comparison with the Rossini texts, that Corghi puts into effect in his compositional work, seems to configure an eccentric position both with respect to the keywords of musical aesthetics that were for a long hegemonic in the second half of the twentieth century, and with respect to the ‘post-modern’ opening that also affected music from the early seventies. Processes of sound amplification and timbre differentiation articulate a sympathetic relationship with the author of the paratexts. A relationship that takes the form of an irony understood as doubling, in which what is said tends to mean something other than what appears
For the Tempus-fugitives: Christopher Norris on the Philosophy (and Poetry) of Colour
Get PDFBorn in 1947, Christopher Norris is Emeritus Professor of Philosophy at Cardiff University. He worked first on literary criticism, then on the question of realism and antirealism in philosophy (as a strong adversary of antirealism), on Derrida and deconstructionism and, more recently, on the philosophy of science. In the past few years he has also authored several philosophical poems.
In this issue we present two poems he wrote that are dedicated to color. Color is a recurrent theme in Norris’ poetry. Why? And why does Norris choose, for nearly ten years past, to mainly use poems for his philosophical investigations? Is there a link between his interest on color and this choice he has made?
Moreover: Norris was always a strong adversary of antirealism and the extreme consequences of the “linguistic turn”. Isn’t there a contradiction between this philosophical position and the importance he gives to poetry? Perhaps color can give us a key
Da Händel a Corghi: la drammaturgia timbrica in Rinaldo & Co*
Get PDFThis essay starts from a fundamental question: can orchestration take on specific dramaturgical functions in musical theatre? The answer is affirmative, provided that it falls within a rational project like the other musical components. In order to define the function of orchestration in Azio Corghi\u27s Rinaldo & C. (1997), a rewriting of Handel\u27s Rinaldo, the analysis first addresses the relationship between the “script” created by the composer himself and the dramaturgy of astonishment, inherited from the late Baroque model. The instrumental characterization of the characters derives directly from it. A fundamental function is performed by the vocal octet, often used in an instrumental way. In Rinaldo & C. the orchestration and development of textures act as an analytical filter of the original model.
This essay starts from a fundamental question: can orchestration take on specific dramaturgical functions in musical theatre? The answer is affirmative, provided that it falls within a rational project like the other musical components. In order to define the function of orchestration in Azio Corghi\u27s Rinaldo & C. (1997), a rewriting of Handel\u27s Rinaldo, the analysis first addresses the relationship between the “script” created by the composer himself and the dramaturgy of astonishment, inherited from the late Baroque model. The instrumental characterization of the characters derives directly from it. A fundamental function is performed by the vocal octet, often used in an instrumental way. In Rinaldo & C. the orchestration and development of textures act as an analytical filter of the original model.
 
The Ontology of Art: Six submissions
Get PDFThis is a verse-essay in the form of six extended villanelles that discuss various aspects of the relationship between poetry, music, and the visual arts. More specifically they concern issues of ontology, autonomy, endurance, expressive power, and formal resistance to the vicissitudes of cultural change. The rhyme-scheme (tight but highly musical) is used to point up and differentiate the range of aesthetic attributes involved in this running debate.This is a verse-essay in the form of six extended villanelles that discuss various aspects of the relationship between poetry, music, and the visual arts. More specifically they concern issues of ontology, autonomy, endurance, expressive power, and formal resistance to the vicissitudes of cultural change. The rhyme-scheme (tight but highly musical) is used to point up and differentiate the range of aesthetic attributes involved in this running debate
Durs Grünbein’s Lob des Taifuns: Images and city figures of Japan
Get PDFThis paper aims to analyse the “Lob des Taifuns. Reisetagebücher in Haikus” by Durs Grünbein, with the intention of showing how Japanese theories of thought, poetic and artistic practises – in particular, haikus – have played a decisive role for Grünbein, not only for understanding “another culture”, but also for reflecting on the aesthetic experience and the forms of telling proper to the metropolitan setting. In this perspective, Grünbein’s book becomes an “ideal place” to see the dialogue between “East” and “West” as an establishment of a tension-filled space between different styles which, without denying their own specificity, offer themselves to contamination and give life to the most recent form of the “metropolitan aesthetic”.This paper aims to analyse the “Lob des Taifuns. Reisetagebücher in Haikus” by Durs Grünbein, with the intention of showing how Japanese theories of thought, poetic and artistic practises – in particular, haikus – have played a decisive role for Grünbein, not only for understanding “another culture”, but also for reflecting on the aesthetic experience and the forms of telling proper to the metropolitan setting. In this perspective, Grünbein’s book becomes an “ideal place” to see the dialogue between “East” and “West” as an establishment of a tension-filled space between different styles which, without denying their own specificity, offer themselves to contamination and give life to the most recent form of the “metropolitan aesthetic”