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De Boileau à Berlioz: Affinités sélectives selon un accordeur de pianos [traduit par Jacqueline Waeber]
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Camp Identities: Conrad Salinger and the Aesthetics of MGM Musicals
Get PDFThis dissertation seeks to position the music of American arranger-orchestrator-composer Conrad Salinger (1901-62) as one of the key factors in creating the larger camp aesthetic movement in MGM film musicals of the 1940s and 1950s. The investigation primarily examines Salinger's arranging and orchestrating practices in transcriptions and conductor's scores of musical numbers from MGM films, though some scores from Broadway shows are also considered. Additionally, Salinger's style is frequently compared to other arrangers, so as to establish the unique qualities of his music that set it apart from his contemporaries from both a technical and an aesthetic standpoint and that made it desirable as an object of imitation. By inquiring into his musical practices' relationship to his subjectivity as a gay person in the era of "the closet," this analysis both proposes and confirms Salinger's importance to the MGM camp aesthetic. With the concept of "musical camp" thus established, the dissertation subsequently demonstrates its capacity to produce new readings of the politics of national belonging and gender that manifest in various musical numbers.</p
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
Brahms\u27s critics : continuity and discontinuity in the critical reception of Johannes Brahms
No full textTHESIS 8350This thesis draws on the writings of a number of nineteenth-century musical commentators, including Richard Pohl, Hermann Deiters, Selmar Bagge, Adolf Schubring, Franz Brendel, and Eduard Hanslick. These critics were writing for the Neue Zeitschrift fur Musik in the 1860s, the Allgemeine musikalische Zeitung in the 1860s and 1870s, and the Neue Freie Press from the 1860s to the turn of the century. The major findings are that there are traces of the ?revisionist? views of recent commentators on Brahms in these nineteenth-century writings. Thus these writings can be understood as a significant part of Brahms Rezeptionsgeschichte
Opera, Gender, and Voice
No full text(a) Gender and sex in the seventeenth-century: — Medical and physiological considerations on the body: humoralism, temperaments, the one-sex model according to Thomas Laqueur and other approaches. Difference between the sexes is quantitative and not qualitative. Being female or male is a constructed social role and not a phyisological difference.— Female singers and castratos, physiology of the voice. Why are gender issues essential to understand the operatic genre and its performers.(b) The Italian operatic stage: — Appearance of the first professional female singers— Testimonies and descriptions of singers, especially women and castratos, prima donna and primo uomo. — Singers and actresses: Anna Renzi, the so-called first prima donna; the actress and singer Virginia Ramponi. Castratos: Marcantonio Pasqualini, Loreto Vittori, Atto Melani, Siface. (c) Case study: Francesca Caccini, La liberazione di Ruggiero dall’isola d’Alcina (1625), first opera composed by a woman — How to make a professional career as a female musician? Caccini as a singer, teacher and composer at the Medici court. Female patronage of the grand duchess Christine de Lorraine and Maria Magdalena of Austria.–– Study of the libretto and music. Plot: opposition between a good androgynous magician competing with an evil, lascivious one to control the knight Ruggiero. Caccini’s musical strategies to define both women (modes, style, recitative, arias, canzonettas, monody, and polyphony).(d) Outside Italy— France: composer Elisabeth Jacquet de la Guerre, tragédie lyrique Céphale et Procris. Female Singers: Anne Chabanceau de La Barre, Marie Le Rochois, Marie-Louise Desmatins, Fanchon Moreau, La Maupin (Julie d'Aubigny). Why did the French dislike castratos?— England and Germanic countries: importation of the Italian genre and its performers. Female performers: Francesca Margherita de l’Epine, Catherine Tofts. Vienna: Margherita Basile appointed at the imperial court in 1631, the prima donna Giulia Masotti in Vienna and Innbruck
Politics, the French Revolution, and Performance: Parisian Musicians as an Emergent Professional Class, 1749-1802
No full textIn this dissertation, I argue that musicians began to emerge as a professional class during the French Revolution (1789-1804) by mobilizing Enlightenment philosophies of music, pre-revolutionary social networks, and economic upheaval. I conceive of this phenomenon within a broad macro-historical context beginning in 1749 with Rousseau's first articulations of music and political culture, and ending with institutional changes at the Paris Conservatoire in 1802. My research applies an anthropological approach to the archives as set forth by scholars including William H. Sewell, Jr., Bernard S. Cohn, and Natalie Zemon Davis. Through archival discoveries from across Parisian archives, I elucidate how musicians capitalized upon revolutionary change to pursue personal and collective advancement as artists and professionals. This approach takes the concept of musicianship as a multivalent social category that traverses musical genres and institutions. This study contributes to the nascent movement to reincorporate economic life back into the historiography of the French Revolution and to a relational approach to the politics of expressivity and practice in musical production. The result of this study is a rethinking of previous historical accounts of revolutionary musicians as simply utilitarian. In focusing on practicing musicians, their social networks, and their economy, I demonstrate the unique political circumstances of musical production and practice in late eighteenth-century Paris. I conclude that revolutionary politics among composers, performers, and pedagogues gave birth to a distinct form of French musical Romanticism rooted in the negotiation of rational approaches to music with the lived experiences of Revolution. This perspective locates one origin of musical Romanticism in Parisian musical institutions during the second half of the eighteenth century. In Paris, musical genius came to be regarded as a collective attribute applicable to not only composers, but also to performers. This shift toward inclusive professional musicianship constituted an evolution of musical production and aesthetics, which held profound implications for cosmopolitan nineteenth-century European music culture.</p
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
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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