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A Performer's Analysis of Dominick Argento's Miss Havisham's Wedding Night
No full textDominick Argento's Miss Havisham's Wedding Night is the least explored of his artistic output. A monodrama in one act for soprano, Miss Havisham's Wedding Night contains some of Argento's most beautiful and challenging music of his compositional output. The purpose of a detailed analysis of the structure and content of Argento's Miss Havisham's Wedding Night is to facilitate the solo vocal performer's interpretation. Argento's setting of Miss Havisham's Wedding Night is unique in that he musically translates the manic psychological state of the literary character. Argento structured the one act opera in such a manner that the music would illuminate the text and the audience might connect with the unstable psychological episodes and outbursts demonstrated by Miss Havisham. To that end, each section and phrase has its own psychological motivation, which in turn demands a varied musical and dramatic interpretation. Utilizing selected scenes from Miss Havisham's Wedding Night, the researcher will analyze Argento's musical manifestation of Dickens's literary work. This research will include an investigation into the manner in which Argento uses the shape of melody and the musical phrase along with the harmonic materials to enhance the text and dramatic content. The author will explore the musical nuances Argento incorporates in an effort to develop and portray Miss Havisham's psychological state. Through an analysis of the orchestral writing the author will show how Argento's aesthetic balance between the music and text represents the emotional and psychological implications of the monodrama
Dominick LaCapra's Postsecular Reflection: A Critical Reading
No full textThis article analyses the first traces of postsecular turn in historical theory, arguing that they first emerged in Dominick LaCapra’s book History and Its Limits: Human, Animal, Violence (2009) and in Allan Megill’s subsequent polemic with that work. The author claims that what prevails in LaCapra’s narrative is the rhetoric of “resisting apocalypse”, thus demonstrating how he inscribes postsecular themes with the issue of trauma, together with its religious connotations. The discussion between LaCapra and Megill is treated here as a point of departure for considering the forms that the postsecular can take in historical theory
Liaisons et déliaisons
No full textThe phenomenon of 'transfer cannot be cut down to the analytical treatment. This text studies the possible exchanges between history and psychoanalysis within the frame of a non-linear perception of temporal processes. The author wishes to set the links between the two domains within the realm of connections and disconnections, included into the social and cultural activities analyzed here within the context of the modern era.Le phénomène du transfert n'est pas réductible à la cure analytique. L'article étudie les échanges possibles entre histoire et psychanalyse dans le cadre d'une conception non-linéaire des processus temporels. Son auteur préconise de situer les rapports entre les deux disciplines sur le registre des liaisons et des déliaisons immanentes aux manifestations socio-culturelles analysées ici en prenant l'exemple de ce qu'elles furent à l'époque moderne.LaCapra Dominick. Liaisons et déliaisons. In: Espaces Temps, 80-81, 2002. Michel de Certeau, histoire/psychanalyse. Mises à l'épreuve, sous la direction de Christian Delacroix, François Dosse et Patrick Garcia. pp. 38-54
An Analytical Overview of Dominick Argento's Evensong: Of Love and Angels
No full textabstract: Many of the works of Dominick Argento have been researched and analyzed, but his choral work Evensong: Of Love and Angels s has received limited attention thus far. Written in memoriam for his wife Carolyn Bailey Argento, Evensong draws its musical material from her initials C.B.A. These letters, translated into note names, form a conspicuous head motive that is present in each movement of the work, and it serves multiple functions: as a melodic feature, as the foundation for a twelve-tone row, and as a harmonic base. This paper provides an overview of the work's conception with specific relation to Argento's biographical details, compositional style, and work habits; a brief review of the critical reception of the work; and a succinct analysis of the form and cyclical materials found in each movement.Dissertation/ThesisD.M.A. Music 201
A Redemption of Meaning in Three Novels by Italo Calvino
No full textIn this thesis I present three readings of Italo Calvino’s later novels: Invisible Cities (1972), If on a winter’s night a traveler (1979), and Mr. Palomar (1983). My primary aim is to defend Calvino against dominant scholarly interpretations that position him as a Postmodern nihilist, a literary trickster interested solely in toying with the mechanics of language. My analysis of Calvino’s work re-envisions him as a special breed of Postmodernist concerned with humanity’s ability to create spaces for meaning in spite of an indifferent cosmos. Drawing from psychoanalytic theory, cognitive science, analytic philosophy, and phenomenology, I synthesize my own critical lens to demonstrate Calvino’s ecstatic faith in human creativity. I claim that Calvino’s later novels contain a fundamentally ethical message: they call on us to live our lives with the intensity and vigilance of the artist, to see the world as a landscape for the collective life of our minds, to endure “the inferno of the living” through acts of creation
Dominick Argento의 연가곡 '봄의 노래' (Songs about Spring)의 연주자적 분석 연구
No full text본 논문은 Dominick Argento(1927∼)의 e.e.cummings의 시에 의한 5곡의 연가곡인 "Songs about Spring"(봄의 노래)를 연주자의 관점으로 분석, 연구한 논문이다.
Dominick Argento는 현존하는 미국 성악 작곡가 중 대표적인 인물 중 한 사람으로, 특히 가곡과 오페라가 널리 알려져 있으며 현재에도 모든 작품들이 정기적으로 연주되고 있다. 1975년에 연가곡인 'From the Diary of Virginia Woolf'로 Pulitzer상을 수상함으로서, 국제적으로 가곡 작곡가의 명성을 알리기 시작하였다.
그의 작품에는 많은 부수음악과 14개의 오페라, 그리고 합창곡 등이 있으며, 1951년 그의 첫 연가곡인 "Songs about Spring"을 발표한 이후 현재까지 8개의 연가곡을 통해 59곡의 가곡을 발표하였다.
필자는 우리나라에 비교적 잘 알려지지 않은 Argento의 작품을 연구함으로서, 이 작품을 통하여 Argento의 초기의 음악적 특징을 살펴보고 이러한 특징들이 작품 속에 어떠한 방법으로 표현되었는지 알아보고, 이를 토대로 Argento가 현대 미국 예술가곡 역사의 중요한 작곡가임을 소개하려는 목적에서 이 주제를 택하였다.
논문은 크게 세 부분으로 나누었는데, I장 서론에서는 Argent의 생애와 그의 가곡의 일반적인 음악적 경향에 대해 언급하였고, II장 본론에서는 작품의 분석에 앞서 이 노래의 가사로 쓰여진 e.e.cummings와 그의 시상에 대한 소개와, 'Songs about Spring'의 분석을 통해 곡의 형식, 화성, 반주형태, 시의 음악적 표현 등을 악보예와 더불어 연구하였다. 마지막 III장에서는 이 작품에 대한 총체적인 설명으로 결론을 지었다.
그의 첫 번째 연가곡인 "Songs about Spring"은 e.e.cummings 시에 의한 5곡의 '봄의 노래'로 1950년, 즉 그가 Peabody Conservatory에 재학중일 때 작곡한 작품이다. 봄이라는 주제 하에 봄의 밝고 아름다우며 생동감 있는 느낌들을 표현한 연가곡이다. 자유로운 형식을 가지며 조성 안에서 다양하고 복잡한 화성의 사용으로 풍부한 색채를 띄고 있고 극적인 표현이 두드러진다. 무엇보다 시와 음악의 조화로운 결합을 추구한 작품이다.
이 작품은 1951년에 소프라노 Carolyn Bailey가 초연하였으며 3년 뒤 두 사람은 결혼하였고, 부인의 영향으로 성악곡의 작품을 주로 작곡하게 되었다.
이 연가곡은 그의 첫 가곡 작품임에도 불구하고 작곡가로서 음악적으로나 문학적으로 뛰어난 면모를 보여주며, 소프라노를 위한 연가곡으로서 많은 사랑을 받고 있으며 자주 연주되고 있는 작품이기도 하다.
;Dominick Argento, Composer-in-Residence at the University of Minnesota, has received considerable recognition as a contemporary American composer of operas and choral works. His Pulitzer Prize in 1975 for the song cycle <From the Diary of Virginia Woolf> focused national attention on him as an important composer of art songs as well.
He realized that a profound feeling for the singing voice is at the roof of his compositional drive. It is moving to hear him describe the voice as the "original instrument, the one for which and with which music was invented." And it is reassuring that he should so thoroughly understand the vulnerability of the singer, the excitement and danger under which performance is undertaken, and the impossibility of separating a singer's personality from his instrument. He has suggested that self-discovery is the theme for much of his work. Hence, of his cycles for voice and piano, diaries and letters are the textual source for an idea with little precedent.
Happily eclectic, whether calling for a major triad or a twelve-tone row, Argento's compositional style is essentially traditional. Given his Italian background, his love for literature, and the inspiration that comes with being married to a soprano, his works are also essentially lyrical, with a strong literary and theatrical thrust. At first acquaintance these songs seem difficult. A profusion of subtle detail, changing tempos and meters, intricate rhythmic patterns, and expression markings all take time to work out, especially in conjunction with the piano. But this intelligent and conscientiously crafted music works so well, performers will quickly realize that these difficulties, by virtue of the naturalness of the expression, are easily surmountable.
In this study, the author has investigated Dominick Argento's musical life, musical features and his first work of song cycle; <Songs about Spring>, the investigation to the music related to the poem that was expressed in his work and musical phraseology.
<Songs about Spring>, which is his first published work, was not written until he was almost 23 years old. Songs 1, 2 and 3 were composed in the summer of 1950 at the Cummington school of the Arts in Massachusetts where Hugo Weisgall, a staff member, had obtained a scholarship for him. The others were added in 1955. Soprano Carolyn Bailey who later became his wife gave the premiere performance of these songs and Argento was the accompanist in 1951 at Peabody Conservatory.
This song cycle is light and lyrical. Formality wise the 4 pieces other than the fourth song "in Spring comes" take the modified strophe style with a repeated change in rhythm.
Although the tonality in general is rather ambiguous, the audience can often feel them in various places in the piece. The ending of the piece finishes is a tonic chord of major note.
The harmonics is based on a note and from there, it develops into a free progression towards the major note.
Starting with a constant melody line, the music progresses into a variation. In Lines of emphasis, especially, application of high pitches and intervals are evident. In general, repetition of notes and basic scales are often used.
Rhythm wise, each piece alternately uses either the waltz-type three beat rhythm or the more calm two beat rhythm. Syncopations, arpeggios, and pedal point techniques are also used frequently.
The dynamic level of the piano part is effective and appropriate to the mood of the poem. The roles of the voice and the piano in this songs are equally important.
Although <Songs about Spring> is his first work, the song cycle shows high quality features both in literature and music. It would be the reason why many soprano choose Argento's this work to perform on the stage.논문개요 = vi
I. 서론 = 1
1. Dominick Argento의 생애 = 1
2. Argento 가곡의 일반적 경향 = 3
II. 본론 = 6
1. e.e.cummings와 그의 시상 = 6
2. 'Songs about Spring'의 음악적 분석 = 10
(1) who knows if the moon's a balloon = 10
(2) Spring is like a perhaps hand = 20
3). in Just-spring = 26
(4). in Spring comes = 35
(5). when faces called flowers float out of the ground = 41
III. 결론 = 53
참고문헌 = 58
Abstract = 6
Chartier, Darnton y la gran matanza del símbolo. Historias. Revista de la Dirección de Estudios Históricos. Num. 25 (1991) octubre-marzo
No full textLas obras en cuestión son: Roger Chartier, "Text, Symbols, and Frenchness", Journal of Modern History, 57 (1985): 682-95 (Traducido en este mismo volumen, pp. 3-17); Robert Darnton, "The Symbolic Element in History", Journal of Modern History, 58(1986):218-34, y La gran matanza de gatos y otros episodios en la historia de la cultura francesa, Fondo de Cultura Económica, México, 1987.1 Claude Lévi-Strauss, Tristes Tropiques [1955], traducción de John Weightman y Doreen Weightman, New York, 1974, pp. 414-15. [Traducción al español: Editorial Universidad de Buenos Aires, Argentina, 1970.)2 Nicolas Contat, Anecdotes typographiques, 1762, ed. Giles Barber, Oxford, 1980.3 Sobre este problema véase mi "Is everyone a Mentalité Case? Transference and the 'Culture' Concept", en History and Criticism, lthaca, N. Y., and London, Cornell University Press, 1985.4 Véase e.g. Jean Starobinski, Jean-Jacques Rousseau: La transparence et l'obstacle, París, 1957; y Jacques Derrida, Of Grammatology, trad. Gayatri Chakravorty Spivak, 1967; reimpresión, Baltimore and London, 1974. [Traducción al español: De la Gramatología, Ed. Siglo XXI, 1971.]5 Jean Jacques Rousseau, La Nouvelle Hélöise, en Oeuvres complétes, ed. Bernard Gagnebin y Marcel Raymond, París, 1961, vol. 2, p. 27 (traducción del autor).6 Ibid., p. 5.7 Ibid.8 Ibid., p. 11.9 Ibid., p. 28.10 Ibid., p. 30.Tomado de Journal of Modern History, núm. 60, marzo de 1988. Nuestra preocupación antropológica y antropocéntrica por ver las cosas desde la perspectiva del “nativo” nos obliga a identificarnos con el gato, víctima ejemplar de la crueldad y la “diversión”. Parece que los historiadores estamos por fin volviendo los ojos al problema de la “lectura” y que incluso mostramos cierta apertura a la “jerga de la textualidad” -o al menos así podría pensarse a partir de la polémica entre Roger Chartier y Robert Darnton originada por el reciente libro de Darnton La gran matanza de los gatos. Sin embargo, la abertura a través de la cual la lectura y la textualidad hacen su entrada en la profesión histórica parece de pronto no más grande que el proverbial guiño del ojo gatuno. Si bien la cuestión suscitada por la polémica Chartier-Darnton es la de la naturaleza e importancia de la lectura de textos en la historia, el enfoque con que la abordan es más bien limitado. Una aproximación diferente a la lectura ¿podría dejar lugar a la excluida perspectiva del gato y atenuar de este modo el imperialismo de la especie así como el carácter de chivo expiatorio metodológico del “otro” que parecen encerrar hasta las más generosas y tolerantes perspectivas humanistas o antropológicas? ¿Tendría incluso algún sentido dejar de intentar comprender la “broma” de la “gran matanza de gatos” con la que Robert Darnton trata de familiarizarnos a medida que penetra en los secretos aparentemente enigmáticos del Antiguo Régimen -una “broma” que no fue tan divertida para sus felinas víctimas? En todo caso, ¿qué significan “lectura” y “textos”, estas misteriosas palabras clave que a menudo parecen rodeadas de una mayor oscuridad que cualquier otra cosa que el Antiguo Régimen pudiera ofrecer a nuestra curiosa indagación etnográfica
On Growth and Income Distribution in a Globalizing World
No full textThe basic idea explaining the relationship between economic growth and income distribution is the “U- shaped hypothesis” postulated by Simon Kuznets. This can be shown in a dual-economy model with technical progress. Initially, inequality is low, but as labour participation in the modern sector increases, higher wages in this sector tend to increase inequality. However, if enough labour is incorporated in the modern sector, wage inequality begins to diminish. Income inequality continues to worsen between the two sectors, if a new modern economy (e.g. IT-based technical change) is introduced and potential GDP shifts to a new trajectory before the turning point is reached. In a globalised word, the substantial unskilled-labour-saving technical progress puts pressure on wages of unskilled workers (in industrialized countries). Also, globalization may be blamed for leaving many nations and millions of people out from reaping the benefits of globalization. This problem can only be overcome by appropriate reforms of the international economic system.Economic Growth, Income Distribution, Globalization
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