Abstracts
Federico Celestini|Sarah Lutz
中文 Deutsch English Login to my Brill account Create Account Publications Subjects African Studies American Ancient Near East and Egypt Art History Asian Book Cartography Biblical Classical Education Jewish Literature Cultural Languages Linguistics Media Middle Islamic Musicology Philosophy Religious Slavic Eurasian Social Sciences Theology World Christianity Human Rights Humanitarian Law International Relations Biology Life Imprints | Nijhoff Wageningen Academic Germany / Austria Böhlau Fink mentis Schöningh Vandenhoeck & Ruprecht V&R unipress Services Authors Author Portal How publish with Brill: Files Guides Fonts, Scripts Unicode Publication Ethics COPE Compliance Data Sharing Policy OASES MyBook Ordering from Newsletter Piracy Reporting Form Awards Librarians Response To The Covid Crisis Catalogs, Flyers Price Lists E-Book Collections Title MARC Records Manage your Online Holdings Sales Managers Contacts From LibLynx Access Management Discovery KBART User Order Help Trade Titles No Longer Published by Investors Latest Key Figures Financial Press Releases Reports Annual General Meeting of Shareholders Share Information Products Books Textbooks Journals Specialty Open for Research Funding Societies Discover Brill’s Content About us Organization Stay updated Corporate Responsiblity Investor Policies, rights permissions Review a FAQ Contact Permissions Reviews Updated Us Mission Statement News Trademarks Careers Blog Partnerships Governance Email Sign-up Pages Responsibility Overview Podcasts Conference Fairs Accessibility Offices Worldwide Policies Forms Departments Acquisition Editors Search Abstracts In: Musikalische Schreibszenen Pages: 465–474 DOI: https://doi.org/10.30965/9783846767146_020 Download PDF Full Text Spuren, Linien, Klänge und die graphische Notation als Grenzfall Theoretische Überlegungen zur musikalischen Schrift im Anschluss an Derrida Sigrid Weigel This paper aims contribute the recent music-theoretical debate on musical writing which has been triggered phenomenon free – especially graphic notations. focus is process transcribing music form preceding any score or manifestation as audible means traditional symbols through notation beyond conventional stave system. approach refers Derrida’s theory in De la grammatologie, focuses those traces that precede symbol system, based critical reading Rousseau’s essays music. At core this perspective concept ‘différance’ ‘trace’. Thus, proposes transcends paradigm pictorial diagrammatic character non-conventional notations order raise more fundamental question ‘scribality’ ‘legibility’ general: i.e. possibility notating ideas formative role various practices, well acoustic realization interpretation In context, are discussed ‘boundary cases’ between coding systems notations, operating at transitions ‘traces’, lines, sounds, some selected examples last part paper. Zur gestischen Qualität der Neumenschriften: Inskribierte Körperlichkeit Federico Celestini Neumatic scripts traditionally associated gestural property, though precise determination element generally lacking. present text will attempt counteract shortcoming. emergence gesture (and through) early neume related performative be followed three conceptual steps. First, notion vocal movement implied music-related conceptions space antiquity Ages examined prerequisites representation (§ 1–3). Thereafter, increasingly corporeality 4–5). Finally, relationship moments studied closely clarify characteristics responsible their quality 6–7). Methodologically, aim interweave systematic approaches conceptualization consideration music-historical contexts. Heinrich Schenker Graphologe. Musikanalytische Stephanie Probst With his ‘Editions Elucidation’ Ludwig van Beethoven’s late piano sonatas Universal Edition, Vienna, (1913–1921), theorist, pianist teacher pioneered field ‘Urtext’ editions. Beyond close study autograph scores basis text, ‘elucidations’ also Schenker’s analytical exegesis works question. Particularly famous initial source later influential ‘Urlinie’ edition Op. 101. My article examines editorial, analytical, theoretical interests conflated example reliance acts ultimately mutual interdependence. Building readings Martin Eybl (1995) Cristina Urchueguía (2012), I position handwriting context graphology ask what lessons might learned studying sources lenses advanced Sybille Krämer (2009, 2012). Materialkritik Fünf Thesen Betrachtung des Schreibmaterials Kompositionsprozessen Michelle Ziegler Materiality factor composition. basic observation calls considerate material circumstances sketch studies relation other aspects creative process: used processes? does it work together factors argues five theses inclusive relational drawing upon considerations materiality cultural sciences humanities expanding musicological criticism “material criticism”. goal consider compositional thus add evaluation processes. further expanded examining sketching methods Earle Brown’s Corroboree two pianos (1964). It reveals always affect processes different levels can consciously creators. understands constant interplay fleeting thought materially manifest writing. Materielle Textdynamik: Das Autograph Faust-Symphonie von Franz Liszt (1854) Christina Ntai produced Faust Symphony (H-Bn, Ms. mus. 260) over course months (August October 1854). A few days after completion, was handed composer’s amanuensis, Joachim Raff, him make fair copy. Liszt’s manuscript should therefore contain least stage provisional ‘definitive’ text. However, beneath intended ‘definitiveness’ hides internal textual dynamic, discernible numerous revisions corrections, paste-overs, rhythmical diminutions repeated passages use implements. Furthermore, almost complete lack articulation, dynamic expression marks throughout particularly striking. Moreover, resembles short score: Only woodwinds, horns strings fully written out. For rest brass percussion instruments composer interspersed short, fragmentary annotations. Especially these last-mentioned features reveal points towards future stages process, would most likely have made final decisions when working Raff’s now lost intends systematically showcase textually phaenomena, manifested ‘Faust’ symphony. Gustav Mahlers Schreibprozesse den Revisionen seiner Partituren: Eine nie endende Geschichte Anna Ficarella Mahler plays decisive development symphonic 19th 20th centuries. article, Mahler’s case study, since precisely that, one hand, dramatic increase verbal language statements (performance instructions expressive annotations), ever important timbre density texture observed. attends sound-organizing dimensions seen persistent often torturous even already printed scores, must regarded integral process. genetic well-suited reconstruction may shed light aimed performance. attempts clean laborious idea its effective implementation orchestral performance terms. Nonetheless, continuous revision uncovers ‘impossible mission’ find definitive solution, work, disclosing limits abstraction. Mise en page Roman Haubenstock-Ramati Initiator editorischer Neuerungen bei Edition Heidy Zimmermann While experimental solutions caused upheaval set characters 1950s, layout engraved remained relatively conventional. only end decade modifications emerged had lasting impact appearance new exemplary such innovations, persisted until introduction computer typesetting. played crucial editorial newly discovered documents estate reveal. Working UE 1957, he soon formulated «audio-visual method layout». He thereby visually adequate spatial printing medium, coordination visual auditive perception. “Mise page”, visualisation matter, operative maxim. implemented Boulez, Berio, Stockhausen Webern presented exhibition “Musikalische Grafik” (Donaueschingen 1959). Not all editions realised, unpublished consulted. More less independent notational iconicity juncture reception. style presentation inspired New Typography involves not choice font, markup, but surface mirror sound, time. Haubenstock-Ramati’s dual editor provides insights into pivotal function Exploring Writing Operative Moments Bruno Maderna’s Compositional Process “Musica su due dimensioni” (1952) Elena Minetti Focusing Musica dimensioni flute, tape cymbal Maderna (1920–1973), essay how began explore first time combination instrumental electronic sounds. Taking Krämer’s ‘operativity’ (Krämer 2017), considered here potential tool activity, manuscripts kept Collection Paul Sacher Foundation Basel analysed, paying particular attention both dimensions. emerges explorative exploited “writing-based practices” (Celestini/Nanni/Obert/Urbanek, 2020) categorising sonic annotations rough graphical arrangement, systematising graphically page, generating twelve-tone permutations strategy coloured triangles alpha-numeric systems, visualising synchronisation parts ensemble recording Complex Relations. Reflections Operativity Music Carolin Ratzinger century, composers explored developed composition techniques led ways sketching, extending space. By choosing material, physical surface, determine medium generation, externalisation control otherwise thoughts. surfaces storage ideas, respective facilitates specific forms operativity pursue objectives. using two-dimensional thinking opens up. As processes, materials sketches drafts document composing music, insight-generating reflective dimension, inherent conditions capabilities, productive theories philosopher Krämer, current studies, workshop Unity Capsule Brian Ferneyhough. Osmanische Vokalmusik Kunst Gedächtnisses Judith I. Haug Ottoman-Turkish usually notated still uses) meşḳ, oral transmission narrower sense. repertoire relies song-text collections (güfte mecmūʿaları), compiled performers ordered according melodic modes (maḳām). These represent individually curated segments vast repertoire. paratext they offer genre, rhythmic mode (uṣūl), poet attribution affords valuable historical helps understand media change orality so-called terennüm syllables nonsense vocalises words major interest mnemonic units during textless piece. Referring Maria Busse Berger’s groundbreaking 2005 Medieval Memory, viewpoint memory composition, performance, transmission. 12th century European 16th/17th Ottoman cannot equated, compared respect sound memory, virtual human mind tangible source. Handwritten Karnatak Music: Memory Mediation Lara Pearson T. K. V. Ramanujacharyulu South Indian tradition known Karnāṭaka Saṅgīta, handwritten either student. practice persists despite existence published many compositions. paper, we affordances musicians involved: relating memorisation, ideals lineage, authenticity, value creativity style. We propose best understood prompt memories, people events. result, forging articulation social connections context. embodied situated, involving inscription take place place. see teacher’s hand say, mark, trace physicality. suggest idiosyncratic qualities conducive creating across domains. Voice Hand. Corporeality Embodied Knowledge Tobias Robert Klein contrasts re-assessment remnants Carolingian neumes (a knowledge pertains voice) anatomy so called ‘musical hand’ (manus musicalis) bodily agent tonal order. Following re-examination (e.g. torculus quilisma) mimetic motion constituent ‘physiological notation’, passage Aurelian Réôme’s Disciplina read intersection liturgical practice, metaphorical signification action voice hand. Three (disproportionate) depictions manus musicalis second index, linkage medical terminology illustration self-contained microcosm, relates quadrivial widespread astrological palmistry. Kompositorisches Schreiben praxeologische Verortung Denkens Fabian Czolbe practice. draws methodological distinction script-based model writing, understanding practices. necessary shift view consequence aesthetics within underlines epistemological text-genetic premise, ‘practice-based’ artistic Musical Notations Rhythm Alternative Theoretical Concepts Strategies Rodrigo Batalha rhythm central academic literature. purpose discuss alternative paradigms strategies, emphasis metrical hierarchy transformations. analyses time-point express temporal instants. researcher/composer perspective, includes literature review cross-cultural analysis structured perceived, structures originating contemporary art Encoded Semantically Operationalised. Scenes Digital Realm Stefan Münnich contribution identify illuminate possible intersections discourses surrounding digitality regard Starting Rüdiger Campe’s ‘writing scene’ (‘Schreib-Szene’) taking Anton Webern’s Six Bagatelles op. 9 no. 5 example, four manifestations scenes: handwritten, printed, encoding formats rendering, addressed ‘semantically operationalised’. doing so, elaborates observations pertaining findings historically transmitted then draw conclusions about underlying scene transductive negotiated it. räumlichen Navigation digitaler Notate Von Fenstern, Manifestationen Codes Sarah Lutz Lev Manovich’s navigable space, video games navigation, offers starting point rethink reflect digital paper-based assumption navigation spaces software interfaces provide orientation contributes itself offering creativity. Additionally, seems enable performativity digitality. Virtual pre-sampled sounds monitored controllers leads penetration realm corporality analogue means. Punkt Linie Fläche. Verhältnis graphischen abstrakten Malerei am Beispiel Anestis Logothetis Gesa Finke Composers who 1950s challenged rules Western staff notation. Many them placed elements point, line plane center criticism, coined term “graphism” her diagrammatology (Sybille Krämer: Figuration, Anschauung, Erkenntnis. Grundlinien einer Diagrammatologie, Berlin 2016, pp. 68). discourse graphism connected abstraction avantgarde movements beginning post-war era. analyzing notation, like turned Wassily Kandinsky, book zu Fläche (1926). compares strategies composers: distanced himself Kandinsky’s theories, claimed abstract highlighted Décisions (1959/1980). japanischen Steingärten Pariser Geschichten. Zum Transformationspotenzial musikalischer Schriftbildlichkeit Julia Freund visual-spatial disposition allow phenomena ‘eye music’. When lines determinable phenomena, becomes principally convert non-musical diagrams drawings ‘musicalise’ them. translation reinterpretation theoretically explicated Cage’s Ryoanji flute (1984), Kreidler’s Charts (2009) Bussotti’s Piano Piece David Tudor 4 (1959). focusses cases medial transformations, themselves become palimpsest-like inscriptions occur. collaborative Autotono (1977), superimposed scenographic layer hands Tono Zancanaro: no longer adhere own standards employed ornamental figurative manner. Conversely, little Pieces nos. 6 7 demonstrates how, second, inscription, indications authorship interpreted way. Save Cite content link colleague librarian You email librarian: copy directly: https://brill.com/edcollchap-oa/book/9783846767146/back-1.xml copied. Your browser support copying via button. Link copied successfullyCopy Collapse Expand Series: Theorie Schrift, Volume: ISBN: 9783846767146 Publisher: Print Date: 05 Jul 2023 Table Contents Front Matter Preliminary Material Copyright Page Vorwort Introduction Teil Schrifttheoretische Vorüberlegungen II Performanz, Geste Neumenschriften Graphologe III Materialität, Textdynamik Partituren IV Schrifttheorie Operativität Through V Mündlichkeit Erinnerung Hand VI Musiknotationen anderer Schriftsysteme VII Digitalität Operationalised VIII Bildlichkeit Geschichten Back List Contributors Metrics All Time Past Year 30 Days Abstract Views 0 11 Downloads Reference Works Primary COVID-19 Info contacts Publishing Newsletters Catalogs Terms Conditions Privacy Cookie Settings Legal Notice © 2016-2023 Powered PubFactory
Brill | Fink eBooks