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Michael Jarrell
No full textNé en 1958 à Genève, Michael Jarrell s’est fait connaître au début des années quatre-vingt grâce à deux prix qui lancèrent sa carrière internationale : son trio à cordes fut primé en Allemagne, et Assonance I pour clarinette reçut le premier prix du concours Acanthes à Paris. Cet élève d’Éric Gaudibert à Genève et de Klaus Huber à Freiburg-im-Breisgau, deux rencontres assurément décisives pour lui, apparut rapidement comme l’un des jeunes compositeurs prometteurs de sa génération. Pierre Mich..
Cassandre de Michael Jarrell
No full textLa question du temps est au cœur de la musique de Michael Jarrell. Elle détermine la technique de composition tout en étant le sujet même des œuvres. En ce sens, Cassandre représente l’aboutissement et la synthèse d’une première période créatrice particulièrement féconde, et le choix même du texte de Christa Wolf apparaît comme « dicté » par les préoccupations musicales et expressives du compositeur. Le personnage de la prophétesse troyenne, réinterprété par la romancière allemande, est en ef..
De Trei à Rhizomes. Manuscrits inédits de Michael Jarrell. Présentation
No full textJarrell Michael, Szendy Peter. De Trei à Rhizomes. Manuscrits inédits de Michael Jarrell. Présentation. In: Genesis (Manuscrits-Recherche-Invention), numéro 4, 1993. Écritures musicales aujourd'hui. pp. 159-187
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Jose Uzcategui, Percussion
No full textEntlehnungen / Michael Jarrell; Temazcal / Javier Álvarez; Allegro Ma Non Troppo / Unsuk Chin; Badlands / Raphaël Cend
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Jose Uzcategui, Percussion
No full textEntlehnungen / Michael Jarrell; Temazcal / Javier Álvarez; Allegro Ma Non Troppo / Unsuk Chin; Badlands / Raphaël Cend
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