255 research outputs found
Diacronico, sincronico: per una linguistica dello spazio melottiano. Una conversazione con baukuh e Valter Scelsi
No full textIntervista di Francesco Garutti a Valter Scelsi in occasio della mostra monografica «Fausto Melotti», organizzata dal Nouveau Musée National de Monaco, curata da Eva Fabbris e Cristiano Raimondi, allestita a Villa Paloma su progetto di Valter Scelsi e baukuh. Un ragionamento sul lavoro di allestimento per l'arte contemporane
Block structures, multi-layering and memory. Composition portfolio: Commentary
No full textThis thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University. This thesis comprises a commentary and a portfolio of nine compositions.This commentary accompanies a portfolio of nine compositions written between October
2006 and June 2009. This commentary traces the development of a range of compositional ideas throughout the portfolio. These revolve around the creation of multilayered textures where all the material and all subtle variations thereof are audible, leading to an investigation of rhythmical block durations and the role of memory. The context in which these ideas arose is provided through discussion of specific existing work that closely relates to the portfolio, in particular by John Cage, Morton Feldman, György Ligeti and Giacinto Scelsi
Historisches Archiv des Komponisten Giacinto Scelsi eröffnet
No full texts. http://www.nmz.de/kiz/nachrichten/historisches-archiv-mit-dokumenten-des-komponisten-giacinto-scelsi-eroeffnet http://www.libero-news.it/adnkronos/view/113445 Wikipedia-Artikel zu Scelsi: http://de.wikipedia.org/wiki/Giacinto_Scels
Giacinto Scelsi
No full textGiacinto Scelsi (1905-1988), uno de los más señalados compositores del último tercio del siglo XX, dejó, además de un importante catálogo de obras, numerosos poemas y un notable número de páginas dispersas, a menudo de carácter hondamente reflexivo. Asimismo, deben considerarse de interés algunas de las escasas entrevistas que concedió. S. Kanach recogió en Les anges sont ailleurs
Tanatología mística: S. Mallarmé, H. Michaux, G. Scelsi
No full textThe fifth and last string quartet of the great composer, musician and poet Giacinto Scelsi, written in 1984 in memory of his friend Henri Michaux who has just died, which is his last work, stripped, austere, is based on a Fa that fades between a white noise, and that reappears at the end in a vibrato that is the composer’s last breath. His music, Michaux will say, «is magnetized by the ineffable». This quartet constitutes an austere and naked funerary wake, with an overwhelming effect, a testament of Scelsi himself. The composer and poet die two years later than Michaux, taking with him all the secrets of his creation. Song of the swan that precedes the final silence of death, symbolized by the two empty, white pages that close their poems. These white pages constitute in Mallarmé a self-referential Nothing: «Sur le vide papier que la blancheur défend». The viaggio al centro del suono to which Scelsi aspired leads the musician poet to the death of the verbal images and the return to silence of the white surface of the page: «suddenly the white surface», he writes in one of his poems. Annihilatio mystica in the form of a blank page that in the three authors –Mallarmé, Michaux, Scelsi– leads to a wisdom of emptiness.El quinto y último cuarteto de cuerda del gran compositor, músico y poeta Giacinto Scelsi, escrito en 1984 en memoria de su amigo Henri Michaux que acaba de fallecer, que es su última obra, despojada, austera, se basa en un Fa que se desvanece entre un ruido blanco, y que reaparece al final en un vibrato que es el último aliento del compositor. Su música, dirá Michaux, está imantada por lo inefable. Este cuarteto constituye una estela funeraria austera y desnuda, de un efecto sobrecogedor, testamento del propio Scelsi. El compositor y poeta muere dos años más tarde que Michaux, llevándose con él todos los secretos de su creación. Canto del cisne que precede al silencio definitivo de la muerte, simbolizado por las dos páginas blancas, vacías, que cierran su poemario. Estas páginas blancas constituyen en Mallarmé una Nada autorreferencial: en el vacío de papel que la blancura defiende. El viaje al centro del sonido al que aspiraba Scelsi lleva al músico poeta a la muerte de las imágenes verbales y al regreso al silencio de la blanca superficie de la página: de repente la blanca superficie, escribe en uno de sus poemas. Annihilatio mystica en forma de página en blanco que en Mallarmé, Michaux y Scelsi conduce a una sabiduría del vacío
Morphometric and neurophysiological analysis of skeletal muscle in paraplegic patients with traumatic cord lesion.
No full textParaplegia. 1991 May;29(4):247-52.
Morphometric and neurophysiological analysis of skeletal muscle in paraplegic patients with traumatic cord lesion.
Lotta S, Scelsi R, Alfonsi E, Saitta A, Nicolotti D, Epifani P, Carraro U.
Source
Centro di Recupero G. Verdi, USL.3., Pavia, Italy.
Abstract
Morphometric and electrophoretic properties of soleus and medialis gastrocnemius fibres from paraplegic patients were studied 1 to 10 months following complete traumatic cord transection (spinal cord level C5-T1). In the short term of paraplegia (1-6 months) gastrocnemius medialis and soleus muscles showed predominant atrophy of IIA fibre types. In long term paraplegia (8-10 months) atrophy and reduction of type 1 fibres, with presence of high percentages of type IIB fibres, were seen in both studied muscles. The consistence in both muscles of IIB intermediate fibres in long term paraplegia, seems to indicate the initial stage of a mechanism of fibre transformation reflecting the adaptative capacity of the paretic muscle to spasticity. Electrophysiological studies of the H-reflex and the H/M ratio values reveal an increase of the H-reflex excitability in the soleus and gastrocnemius muscles during a 1 to 10 months follow-up.
PMID:
1831255
[PubMed - indexed for MEDLINE
Scelsijeve zagrebačke epizode [Zagreb Episodes of Giacinto Scelsi]
No full textU okviru Muzičkog biennala Zagreb 1977. izvedena je skladba talijanskog skladatelja Giacinta Scelsija (1905–1988) Pranam I za glas, ansambl i magnetofonsku vrpcu, skladana 1972. Članak pokušava osvijetliti ovu prilično ranu izvedbu Scelsijeva djela rekonstruirajući smjernice recepcije Scelsijeve glazbe u širem europskom kontekstu tijekom sedamdesetih i osamdesetih godina. Polazeći od Scelsijeve korespondencije s Nikšom Gligom (što se danas čuva u arhivu Zaklade Isabelle Scelsi u Rimu), umjetničkim direktorom Muzičkog biennala Zagreb 1977, skicira se povijest odnosa između Scelsija i zagrebačke sredine. [During the Zagreb Music Biennale 1977, a piece by the Italian composer Giacinto Scelsi (1905–1988) was performed, Pranam I for voice, ensemble and tape, composed in 1972. The article illustrates this rather early performance of a piece by the Italian composer by reconstructing the reception of Scelsi’s music in the broader European context of the seventies and the eighties. Starting from the correspondence (archived in the Isabella Scelsi Foundation in Rome) between Scelsi and Nikša Gligo, Art Director of the Zagreb Music Biennale 1977, it sketches the history of the relationship between Zagreb and Scelsi.
Afasia
No full textDefinizione del lemma Afasìa s. f. [dal gr., «incapacità di parlare», comp. di - priv. e «voce, affermazione»], in ARCHITETTURA & ORDINARIETÀ: GLOSSARIO INCOMPLETO DI PAROLE LIBERAMENTE SCELTE, a cura di ICAR65
“PERCEZIONE DI BULLI E DI VITTIME NELLA SCUOLA DELL’OBBLIGO: UN CONFRONTO FRA INSEGNANTI DELLE ELEMENTARI E DELLE MEDIE”
No full textBullies and victims’ perception at the obligatory school: a comparison among Elementary and Middle School Teachers - Bullying is a widespread social phenomenon involving both individual and group variables. Few researches have explicitly evaluated how this phenomenon is perceived among teachers. The present study is aimed at analyzing and comparing elementary and middle school teachers’ perception of bullying. Perceived problems among children/adolescents in the classroom, perceived peer’attitudes toward bullies, perceived victim’ attitudes and perceived seriousness of bullying situations were assessed using a questionnaire completed by 81 teachers. Results highlighted differences in perceived seriousness of phenomenon across two di¬ferent conditions (elementary and middle school teachers). Specifically, middle school teachers perceived bullying situations more serious than elementary school teachers. Theoretical and practical implications of these results are discussed in terms of directions for future research and intervention in bullying
Scelsi en la corriente convencional : una consideración acerca de su Trío à Cordes
No full textResumen: partiendo del estudio del Trío à Cordes de Giacinto Scelsi el autor intenta demostrar cómo, contrariamente a lo que generalmente se afirma, dicho compositor se encuentra profundamente enraizado en la tradición musical occidental. Para ello se lo vincula con el realismo estético y el significado filosófico y musical del concepto de los opuestos.Abstract: Taking the Trío à Cordes by Giacinto Scelsi as a starting point, the author tries to demonstrate how the composer finds himself deeply enrooted in western musical tradition, as opposed to what is generally believed. For this purpose he is linked to aesthetic realism and the philosophical and musical significance of the conception of the opposites
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