1,721,260 research outputs found
Richard Barrett portrait, undated
No full textBlack-and-white photograph of Richard Barrett. The captions on the reverse of the image read, "Utc", "Richard Barrett", "w/s; #5; 1 col", and "File: Misc bios." The stamps on the reverse of the image read, "PINK CITY" and "PHOTOS BY TOM NITE; NEWS-FREE PRESS.
Richard Barrett portrait, undated
No full textBlack-and-white photograph of Richard Barrett. The captions on the reverse of the image read, "Utc", "Richard Barrett", "w/s; #5; 1 col", and "File: Misc bios." The stamps on the reverse of the image read, "PINK CITY" and "PHOTOS BY TOM NITE; NEWS-FREE PRESS.
mit Richard Barrett
No full textMusiker, die nie zuvor miteinander gespielt haben, für ein paar Probentage zusammenzubringen, um der improvisierten Musik dadurch neue Impulse zu versetzen – das ist die Idee des »SWR NEWJazz Meeting«. Nach nur einer Woche Proben wird diesmal eine achtköpfige Musikergruppe um Richard Barrett eine kleine Tournee mit drei Konzerten in der Region antreten und das erste davon im ZKM geben. Der britische Komponist Richard Barrett, der schon als Improvisationskünstler im Elektronik-Duo »Furt« mit Paul Obermayer hervorgetreten ist, wurde von der SWR2-Jazzredaktion beauftragt, ein kompositorisches Konzept für die Konzerte zu erarbeiten. Dabei bieten ausnotierte Passagen einerseits einen formalen Rahmen, programmierte elektronische Samples schaffen andererseits eine Atmosphäre, die den Improvisierenden alle spielerischen Freiheiten des spontanen Miteinander-Musizierens ermöglicht
in den Arbeiten von Richard Barrett und Agostino Di Scipio
Full text linkKomposition kann als nicht-repräsentatives Kartographieren eines Raums verstanden werden, der sowohl parametrisch, symbolisch sowie klanglich, instrumental und körperlich sein kann. Anhand einiger Arbeiten der Komponisten Richard Barrett und Agostino Di Scipio wird, unter Bezugnahme auf den Begriff der Karte der Philosophen Gilles Deleuze und Félix Guattari sowie G.W.F. Hegels Denken des Klangs versucht, eine Idee von Komposition als kartographischer Klangbeschreibung zu formen, die ‚abstrakte‘ Karte und ‚konkretes‘ klangliches Territorium als sich gegenseitig erzeugend vorstellt
Les flûtes dans l’imaginaire de Richard Barrett: Vers l’hybridation
No full textInternational audienceLe compositeur gallois Richard Barrett est l’auteur d’une œuvre conséquente, mêlant pièces instrumentales, vocales et électroacoustiques à une pratique soutenue de l’improvisation, autant en groupe qu’en soliste. Son catalogue intègre très souvent la flûte au sein de formations variées, du duo pour flûte et percussions Inward (1994-1995) issu du cycle Opening of the Mouth jusqu’au récent concerto de chambre Tomorrow, hommage à Robin Kirkham, membre du comité d’administration de l’Ensemble ELISION, principal partenaire artistique du compositeur.La flûte est également convoquée dans des pièces de grandes dimensions pour son pouvoir expressif et sa faculté à filtrer le souffle et les mots. Ses nombreux auxiliaires permettent au compositeur une grande variété de timbres, puisqu’en plus des flûtes basses et alto, les flûtes à bec baroques sont convoquées dans CONSTRUCTION (2003-2011) afin de permettre la constitution de textures harmoniques complexes. Cette communication sera l’occasion de présenter les lignes de force parcourant l’écriture pour flûte du compositeur, en notant l’influence prégnante de pratiques improvisationnelles tout autant que la proximité de l’instrument avec la vocalité et l’usage régulier du texte dans son travail
Les flûtes dans l’imaginaire de Richard Barrett: Vers l’hybridation
No full textInternational audienceLe compositeur gallois Richard Barrett est l’auteur d’une œuvre conséquente, mêlant pièces instrumentales, vocales et électroacoustiques à une pratique soutenue de l’improvisation, autant en groupe qu’en soliste. Son catalogue intègre très souvent la flûte au sein de formations variées, du duo pour flûte et percussions Inward (1994-1995) issu du cycle Opening of the Mouth jusqu’au récent concerto de chambre Tomorrow, hommage à Robin Kirkham, membre du comité d’administration de l’Ensemble ELISION, principal partenaire artistique du compositeur.La flûte est également convoquée dans des pièces de grandes dimensions pour son pouvoir expressif et sa faculté à filtrer le souffle et les mots. Ses nombreux auxiliaires permettent au compositeur une grande variété de timbres, puisqu’en plus des flûtes basses et alto, les flûtes à bec baroques sont convoquées dans CONSTRUCTION (2003-2011) afin de permettre la constitution de textures harmoniques complexes. Cette communication sera l’occasion de présenter les lignes de force parcourant l’écriture pour flûte du compositeur, en notant l’influence prégnante de pratiques improvisationnelles tout autant que la proximité de l’instrument avec la vocalité et l’usage régulier du texte dans son travail
Music of the margins. Radically idiomatic instrumental practice in solo guitar works by Richard Barrett, Brian Ferneyhough and Klaus K. Hübler
No full textDissertation for the PhD degree Norwegian Academy of Music, Oslo 2017 - Avhandling (Ph.D.) - Norges musikkhøgskole, 2017Sammendrag. - Studien er en undersøkelse av hvilken rolle instrumentalpraksis har i verk for solo gitar av Brian Ferneyhough, Richard Barrett og Klaus K. Hübler. I disse verkene er det musikalske materialet fundert i instrumentalpraksisen og instrumentets og den spillende kroppens fysiske og materielle egenskaper og betingelser. Dermed omdefineres forholdet mellom musikalsk materiale og praksis ut fra sine minste bestanddeler gjennom det Richard Barrett omtaler som en radikalt idiomatisk innfallsvinkel til å komponere. Selv om det radikalt idiomatiske elementet er et sentralt aspekt ved de aktuelle komponistenes verk, er dette aspektet i stor grad oversett av resepsjonen. Undersøkelsens analytiske ramme tar utgangspunkt i Foucault begrep om diskursive praksiser for å kunne diskutere verkenes materielle kroppslighet. Med referanse til Derrida forstås den komposisjonstekniske inkluderingen av de fysiske betingelsene som ligger i musikalsk fremføring som en dekonstruksjon av dikotomien verk/fremføring. Referansen til Foucault muliggjør dessuten etableringen av en teori om instrumentalpraksis som middel til subjektivering. Den dekonstruksjonen av instrumentalpraksis som finnes i verkene kan dermed også betraktes som en konkretisert kritikk av den maktens mikrofysikk som gjennomsyrer vår musikalske tradisjon. Dekonstruksjonen av praksisen kan videre forstås som en kritikk av forestillingen om utøver-subjektet, som er en sentral kategori i vestlig estetisk tenkning.Abstract. - The project seeks to assess the role of instrumental practice in works for guitar solo by Brian Ferneyhough, Richard Barrett and Klaus K. Hübler. In these works, the composers have extracted the musical material directly from the instrumental practice and the concrete physical properties of the instrument and the performing body, restructuring the relationship between musical material and practice from its most minute details in what Richard Barrett terms a radically idiomatic approach to composition. Although clearly central to the interests of the composers in question, the radically idiomatic has been largely ignored by the reception of their works. The analytic framework of the study takes Foucault’s notion of discursive practices as a point of departure in order to grasp the corporeal materiality of the compositions. Drawing heavily on the writings of Jacques Derrida, the inclusion of the physical conditions of musical realisation within compositional technique is understood as a deconstruction of the work/ realisation-dichotomy. Extending the Foucauldian perspective, the project also establishes a theory of instrumental practice as a means of subjectivation. The deconstruction of instrumental practice found in the radically idiomatic works is thus viewed as a critique of the concrete microphysics of power invested in the instrumental tradition, and as a critique of the notion of performer subjectivity so central to Western aesthetic thought
Music of the margins. Radically idiomatic instrumental practice in solo guitar works by Richard Barrett, Brian Ferneyhough and Klaus K. Hübler
Full text linkDissertation for the PhD degree Norwegian Academy of Music, Oslo 2017 - Avhandling (Ph.D.) - Norges musikkhøgskole, 2017Sammendrag. - Studien er en undersøkelse av hvilken rolle instrumentalpraksis har i verk for solo gitar av Brian Ferneyhough, Richard Barrett og Klaus K. Hübler. I disse verkene er det musikalske materialet fundert i instrumentalpraksisen og instrumentets og den spillende kroppens fysiske og materielle egenskaper og betingelser. Dermed omdefineres forholdet mellom musikalsk materiale og praksis ut fra sine minste bestanddeler gjennom det Richard Barrett omtaler som en radikalt idiomatisk innfallsvinkel til å komponere. Selv om det radikalt idiomatiske elementet er et sentralt aspekt ved de aktuelle komponistenes verk, er dette aspektet i stor grad oversett av resepsjonen. Undersøkelsens analytiske ramme tar utgangspunkt i Foucault begrep om diskursive praksiser for å kunne diskutere verkenes materielle kroppslighet. Med referanse til Derrida forstås den komposisjonstekniske inkluderingen av de fysiske betingelsene som ligger i musikalsk fremføring som en dekonstruksjon av dikotomien verk/fremføring. Referansen til Foucault muliggjør dessuten etableringen av en teori om instrumentalpraksis som middel til subjektivering. Den dekonstruksjonen av instrumentalpraksis som finnes i verkene kan dermed også betraktes som en konkretisert kritikk av den maktens mikrofysikk som gjennomsyrer vår musikalske tradisjon. Dekonstruksjonen av praksisen kan videre forstås som en kritikk av forestillingen om utøver-subjektet, som er en sentral kategori i vestlig estetisk tenkning.Abstract. - The project seeks to assess the role of instrumental practice in works for guitar solo by Brian Ferneyhough, Richard Barrett and Klaus K. Hübler. In these works, the composers have extracted the musical material directly from the instrumental practice and the concrete physical properties of the instrument and the performing body, restructuring the relationship between musical material and practice from its most minute details in what Richard Barrett terms a radically idiomatic approach to composition. Although clearly central to the interests of the composers in question, the radically idiomatic has been largely ignored by the reception of their works. The analytic framework of the study takes Foucault’s notion of discursive practices as a point of departure in order to grasp the corporeal materiality of the compositions. Drawing heavily on the writings of Jacques Derrida, the inclusion of the physical conditions of musical realisation within compositional technique is understood as a deconstruction of the work/ realisation-dichotomy. Extending the Foucauldian perspective, the project also establishes a theory of instrumental practice as a means of subjectivation. The deconstruction of instrumental practice found in the radically idiomatic works is thus viewed as a critique of the concrete microphysics of power invested in the instrumental tradition, and as a critique of the notion of performer subjectivity so central to Western aesthetic thought
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe 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
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