DOCSLIB.ORG

Music As Reference in Mobility Contexts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music As Reference in Mobility Contexts With papers by Martin Albrecht-Hohmaier, Mainz Conference of the Anna Laura Bellina, Padua Alessandro Bertinetto, Turin DFG/NCN-project Thomas Betzwieser, Frankfurt a.M. Daniel Brandenburg, Salzburg Music as Michele Calella, Vienna PASTICCIO Frédéric Döhl, Berlin Tina Hartmann, Bayreuth Bernhard Jahn, Hamburg Ways of Arranging Kordula Knaus, Bayreuth Reference Hans Körner, Düsseldorf Attractive Operas Maik Köster, Mainz Metoda Kokole, Ljubljana Ursula Kramer, Mainz Annette Landgraf, Halle Within the current fi eld of studies on the mobilities of in Mobility Alina Mądry, Poznan Early Modern musicians, the operatic pasticcio (i.e. Aneta Markuszewska, Warsaw a most popular genre consisting of the arrangement of Gesa zur Nieden, Mainz pre-existing musical material for opera performances) Berthold Over, Mainz has emerged as a paradigmatic musical genre of European Elisabeth Oy-Marra, Mainz musical life during the 18th century. Its structure and Emilia Pelliccia, Vienna/Cremona Contexts: aesthetics were not only based on the European-wide Daniela Philippi, Frankfurt distribution and knowledge of musical material, but Klaus Pietschmann, Mainz also on developing concepts of artistic talent, compositional Angela Romagnoli, Pavia/Cremona program models, and musical ownership. All those concepts Anna Ryszka-Kormanicka, Warsaw were shaped not only by travelling musicians and by the Elisabeth Scholl, Mainz transregional reception of operatic productions, but Christine Siegert, Bonn by political-symbolic intentions and economics. Jana Spáčilová, Olomouc PASTICCIO aims to investigate the under-researched Katarzyna Spurgjasz, Warsaw operatic pasticcio. For that, it analyses the material Carolin Stahrenberg, Berlin basis, the compositional and performative creation, as Gianluca Stefani, Florence well as the musical reception of pasticcios within a Julia Stenzel, Mainz European-wide network of metropolises and courts. On Mariam Tarkian, Mainz the one hand, tracing such modes of musical transfer Joachim Veit, Detmold/Paderborn and distribution will elucidate the circumstances for the Benjamin Wihstutz, Mainz creation and production of pasticcios. On the other Andrea Zedler, Bayreuth hand, an analysis of the musical and literary authorship Alina Żórawska-Witkowska, Warsaw and its political, social and cultural functions encom- Operatic passed by the models of pasticcio fragments and by the pasticcios themselves will give insight into both the central aesthetic and cultural developments of the 18th century and the mobilities of its musicians. The online edition of three pasticcios will enrich musical text with Pasticcios cultural-historical data. Taking place at the beginning of the project, the conference is dedicated to ensuring a survey of actual interdisci- plinary pasticcio research, including the presentation of different research approaches as well as the discussion in 18th of DH and editorial problems. Organised by Johannes Gutenberg Century Gesa zur Nieden and Berthold Over University Mainz Philosophicum Contact & Registration Hörsaal Musikwissenschaft IKM – Institut für Kunstgeschichte und Musikwissenschaft Abteilung Musikwissenschaft Central Johannes Gutenberg-Universität Jakob-Welder-Weg 18 55128 Mainz +49/(0)6131/39-22259 [email protected] Europe [email protected] 18 – Round Table: Esthetics of the pastiche program 19 Tina Hartmann (Bayreuth), Kordula Knaus (Univer- sity of Bayreuth), Elisabeth Oy-Marra (University of Mainz), Carolin Stahrenberg (Universität der Küns- 5th october te, Berlin), Benjamin Wihstutz (University of Mainz) 3. Traveling musicians – traveling music? Chair: Ursula Kramer 9 – Traveling Opera Troupes and Opera buffa Outside of 4th october 9.30 Italy (1745–1765) (Kordula Knaus/Andrea Zedler, University of Bayreuth) 9 – Introduction (Aneta Markuszewska, University of Warsaw/ 9.30 Gesa zur Nieden, University of Mainz) 9.30 – Debts and Destiny: New Findings on Antonio Maria 10 Peruzzi and His Opera Touring Business 1. Pasticcio principles in different arts (Berthold Over, University of Mainz) Chair: Michele Calella 10 – Italian “operisti”, Repertoire and “aria da baule”: Insights 9.30 – Keynote: The World of Pasticcio – Some Reflecti- 10.30 of the Pirker Correspondence 10.30 ons on Pre-existing Text and Music (Daniel Brandenburg, University of Salzburg) (Thomas Betzwieser, University of Frankfurt a.M.) 10.30 – coffee break 10.30 – coffee break 11 11 11 – The Ways of a Voice: the Tenor Francesco Borosini 11 – Antoine Watteau’s Pasticci 11.30 Between the Habsburg Court and the Royal Academy 11.30 (Hans Körner, Universtiy of Düsseldorf) (Emilia Pelliccia, University of Vienna) 11.30 – Pastiche and Parody in 18th Century German Theatre 11.30 – Artaserse (Rome, 1721), the First Pasticcio by Nicola 12 (Bernhard Jahn, University of Hamburg) 12 Porpora (Aneta Markuszewska, University of Warsaw) 6th october 12 – Collating Spaces. On the Use and Reuse of Antiquish 4. Local conditions of pasticcio 5. Pasticcio between philology 12.30 Sceneries in 18th Century Theatre Performances production and reception and materiality (Julia Stenzel, University of Mainz) Chair: Aneta Markuszewska Chair: Daniel Brandenburg 12.30 – lunch 12 – Arrangement, Collaboration, “Dressing”: the Different 9 – Keynote: A Readymade Ontology for the Musical 14.30 2. The pasticcio between sociability, 12.30 Recipes for a “pasticcio alla napoletana” in the First Half 10 Work (Alessandro Bertinetto, Universtiy of Turin) cultural transfer and musical ownership of the 18th Century (Angela Romagnoli, University of Pavia/Cremona) 10 – Between Venice, Naples and London: the Pasticcio Chair: Kordula Knaus 10.30 Vincislao, re di Polonia (1717) 14.30 – Pastiche and Its Others: Adaptation, Transformative Use 12.30 – Production of Opera Pasticcios in Venice in the Early (Anna Ryszka-Kormanicka, University of Warsaw) 15 and Copyright Law since 1800 13 18th Century: the Impresario’s Role (Gianluca Stefani, University of Florence) 10.30 – The Musical and Physical Mobility of Material in Handel (Frédéric Döhl, Free University Berlin) 11 Sources (Annette Landgraf, University of Halle-Witten- 13 – 15 – Composing, Collaborating and Borrowing: Georg lunch berg, Redaktion der Hallischen Händel-Ausgabe) 14.30 15.30 Christoph Wagenseil and the Viennese pasticci of 1750 14.30 – Bad Habits in Theatre – Late Forms of Operatic Pasticcios 11 – coffee break (Michele Calella, University of Vienna) 15 in Vienna Around 1800 11.30 (Klaus Pietschmann, University of Mainz) 15.30 – Presentation of Dance as Motivation for Pasticcio 11.30 – Pasticcios in Darmstadt? On Christoph Graupner’s 16 Practices: Cythère assiégée by Gluck and Berton (1775) 15 – Between dwarfs and giants. Aesthetics of the Pasticcio 12 Handling of Italian Libretti (Ursula Kramer, University of (Daniela Philippi, University of Frankfurt) 15.30 between London and Hamburg Mainz) (Gesa zur Nieden, University of Mainz) 16 – coffee break The Graz 1739 Pasticcio Amor, Odio e Pentimento: a 16.30 12 – 15.30 – Il desiderio appagato del re, ovvero La buona figliola di Special Case or Mingotti’s Common Practice? (Metoda 16.30 – The Use of Extracts of Mozart’s Operas in Polish Sacred 12.30 16 Carlo Goldoni con musica di Niccoló Piccinni ed Il Kokole, Research Centre of the Slovenian Academy of 17 Music (Alina Mądry, University of Poznan/Posen) mercato di Malmantile con musica di Domenico Fischiet- Sciences and Arts Ljubljana) ti, rappresentate a Varsavia nel 1765 17 – Pasticcio da chiesa, or How to Transform Some Trendy 12.30 – lunch (Alina Żórawska-Witkowska, University of Warsaw) 17.30 Opera Arias into an Oratorio (The Case of Breslau/Sa- 14 gan Contrafacted Oratorio from the Mid 18th Century) Chair: Christine Siegert (Katarzyna Spurgjasz, Warsaw) 16 – Local Conditions of Pasticcio Production and Reception: 16.30 Between Prague, Brno/Brünn and Wrocław/Breslau 14 – L’albero dei pasticci. Soluzioni manuali e soluzioni 17.30 – Temporal Heterogeneities in the Pasticcio Until the Early (Jana Spáčilová, University of Olomouc/Olmütz) 14.30 informatiche (Anna Laura Bellina, University of Padua) 18 19th Century (Christine Siegert, Beethoven-Haus Bonn) 16.30 – coffee break 14.30 – Digital Music Editions Beyond Musical Text (Joachim 19 – Lecture Concert „Metastasio‘s Didone abbandonata 17 15 Veit, University of Detmold/Paderborn) 17 – Poster presentation 20 - Vinci and Handel“ Cultural-historical Data Collected and Organised in a Mainz School of Music, Black Box - Elisabeth 17.30 15 – Loss or Enrichment – Musical Ways Through Several Digital Edition 15.30 Sources (Martin Albrecht-Hohmaier, University of Mainz) Scholl (S) with Silke Volk (vl), Judith Freise (vl), (Maik Köster, Mariam Tarkiam, student assistants Mainz) Iddo Zhang (vla), Markus Möllenbeck (vlc), Thomas Borrowed Voices. Ownership of Arias in 18th Century 16 – Internal workshop of the project group Dittmann (cb), Markus Stein (cemb) London (Maik Köster, student assistant Mainz) 19.
Load more

Recommended publications
  • The Songs of the Beggar's Opera
    Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1966 The onS gs of The Beggar's Opera Carolyn Anfinson Eastern Illinois University This research is a product of the graduate program in Music at Eastern Illinois University. Find out more about the program. Recommended Citation Anfinson, Carolyn, "The onS gs of The Beggar's Opera" (1966). Masters Theses. 4265. https://thekeep.eiu.edu/theses/4265 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. PAPER CERTIFICATE #3 To: Graduate Degree Candidates who have written formal theses. Subject: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements. Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institutionts library or research holdings. Date I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced because Date Author THE SONGS OF THE BEGGAR'S OPERA (TITLE) BY Carolyn Anfinson THESIS SUBMIITTD IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF M.S.
    [Show full text]
  • CHAN 3036 BOOK COVER.Qxd 22/8/07 2:50 Pm Page 1
    CHAN 3036 BOOK COVER.qxd 22/8/07 2:50 pm Page 1 CHAN 3036(2) CHANDOS O PERA I N ENGLISH Il Trovatore David Parry PETE MOOES FOUNDATION CHAN 3036 BOOK.qxd 22/8/07 3:15 pm Page 2 Giuseppe Verdi (1813–1901) Il trovatore (The Troubadour) Opera in four parts AKG Text by Salvatore Cammarano, from the drama El trovador by Antonio Garcia Gutiérrez English translation by Tom Hammond Count di Luna, a young nobleman of Aragon ....................................................................Alan Opie baritone Ferrando, captain of the Count’s guard ..................................................................................Clive Bayley bass Doña Leonora, lady-in-waiting to the Princess of Aragon ..............................................Sharon Sweet soprano Inez, confidante of Leonora ........................................................................................Helen Williams soprano Azucena, a gipsy woman from Biscay ....................................................................Anne Mason mezzo-soprano Manrico (The Troubadour), supposed son of Azucena, a rebel under Prince Urgel ........Dennis O’Neill tenor Ruiz, a soldier in Manrico’s service ..................................................................................Marc Le Brocq tenor A Gipsy, a Messenger, Servants and Retainers of the Count, Followers of Manrico, Soldiers, Gipsies, Nuns, Guards Geoffrey Mitchell Choir London Philharmonic Orchestra Nicholas Kok and Gareth Hancock assistant conductors David Parry Further appearances in Opera in English Dennis O’Neill:
    [Show full text]
  • Música Dispersa Apropiación, Influencias, Robos Y Remix En La Era De
    Música dispersa Apropiación, influencias, robos y remix en la era de la escucha digital Rubén López Cano Editorial: Musikeon Books (Barcelona) Año de publicación. 2018 ISBN: 978-84-945117-1-4 Palabras clave: Identidad y modos de existencia de las piezas musicales. Apropiación. Reciclaje musical. Intertextualidad. Préstamos e influencia. Reutilización. Plagio. Música grabada. Autenticidad y discursos de legitimación. Covers y versiones. Remix. Sampleo. Mashup. Memes musicales. Escucha digital. Pacto perceptual. Contenido 1. Introito: de la epifanía al trabajo colaborativo 2. Ser, parecer, aparecer, acceder y conocer la música 2.1. ¿Dónde están las sinfonías cuando no suenan? 2.2. Una obra y muchos seres 2.3. El rock y sus dilemas existenciales 2.4. El jazz: ¿obras o eventos? 2.5. Límites de la ontología musical 3. Fragmentación y dispersión de la unidad musical: Apropiaciones, influencias, préstamos, intertextualidad y reciclaje. 3.1. ¿De quién es la canción? Apropiaciones 3.2. Lo intertextual: una "obra" es un momento de la red 3.3. Reciclaje: del préstamo a la influencia 3.4. Intertextualidad en la música popular urbana 3.5. Intertextualidad en la música de arte occidental 3.6. Rangos de procesos y funciones intertextuales 3.7. Citas 3.8. Reutilización 3.9. Citas expandidas 3.10. Capital musical, idiolectos, campos semióticos 3.11. Intertexto vocal como diccionario 3.12. Intertexto vocal y paseos inferenciales 3.13. Crossover y referencias enmudecidas 3.14. Modelización y alusión 3.15. Inserción por ensamblaje. Quodlibet, Popurrí, Pasticcio, Patchwork, Collage 3.16. Intervención en una pieza preexistente: revisiones, versiones, contrafacta, paráfrasis e intervenciones conceptuales 3.17.
    [Show full text]
  • Musicdiff – a Diff Tool for MEI
    Music Encoding Conference Proceedings 2020 59 MusicDiff – A Diff Tool for MEI Kristin Herold Dr. Johannes Kepper Beethovens Werkstatt Beethovens Werkstatt [email protected] [email protected] Ran Mo Agnes Seipelt Beethovens Werkstatt Beethovens Werkstatt [email protected] [email protected] Introduction For musicologists, the collation of multiple sources of the same work is a frequent task. By comparing different witnesses, they seek to identify variation, describe dependencies, and ultimately understand the genesis and transmission of (musical) works. Obviously, the need for such comparison is independent from the medium in which a musical work is manifested. In computing, comparing files for difference is a common task, and the well-known Unix utilitydiff is almost 46 years old [1]. However, diff, like many other such tools, operates on plain text. While many music encoding formats based on plain text exist, formats used in the field of Digital Humanities are typically based on XML. There are dedicated algorithms for comparing XML as well,1 but they only focus on the syntax of XML, but not the semantic structures modelled into such standards as MEI. MEI seeks to describe musical structures, and the XML syntax is just a means to express those structures. A diff tool for music should focus on comparing musical structures, but not the specifics of their serialization into a file format. In Beethovens Werkstatt, a 16-year project focussed on exploring the concepts and requirements of digital genetic editions of music, based on and arguing with examples from Ludwig van Beethoven, a case-bound diff tool for music was developed.
    [Show full text]
  • Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
    Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated
    [Show full text]
  • Pastiche and Parody As a Post- Modernist Form of Cultural Identity
    Classical Art with Chinese Characteristics: Pastiche and Parody as a Post- Modernist Form of Cultural Identity Hannah Kirk Yenching Academy, Peking University June 2019 Introduction Pastiche has held a long-lasting presence in the artistic process. For centuries and across cultures, masters have copied the techniques and shared the subject matter eternalised by their predecessors. Most definitions of pastiche are synonymous with this process of copying in varying degrees of approval, ranging from accusations of near plagiarism to more sympathetic understanding of added creativity in layers above the original. This essay considers the definitional scope of pastiche as a foundation to its treatment as a legitimate post-modernist art form. The Jamesonian ‘blank’ and ‘blind’ pastiche where overlapping symbolism across eras or cultures renders all lost in meaning is contrasted against the ‘Hutcheonian transcontextual parody’ whereby the artist conveys precise meaning through the transplanted historical and cultural narrative. The suitability of such a definition for the Chinese context is considered in the past but also the present. Choice of artistic form reflects on the question of how best to portray cultural identity and I argue this art form has unique high-level interpretability by layering political and social comment between Western and Eastern artistic ideals, now and across time. As such, China’s modernity is painted amidst a complex maze of historical references, forms and ubiquitously recognisable imagery. In order to clarify the precise and poignant purpose of parody for modern Chinese artists, three examples will be presented in the form of two case studies and one comparative study across renditions of the same painting ‘The Last Supper’.
    [Show full text]
  • Theoretical Aspects of Problem of Intertextuality in Modern Literary Studies
    Advances in Social Science, Education and Humanities Research (ASSEHR), volume 312 International Conference "Topical Problems of Philology and Didactics: Interdisciplinary Approach in Humanities and Social Sciences" (TPHD 2018) Theoretical Aspects of Problem of Intertextuality in Modern Literary Studies Anna A. Ilunina Chair of Foreign Languages Voronezh State University of Forestry and Technologies n.a. G.F. Morozov Voronezh, Russia [email protected] line 3-City, Country Abstract—The articles deals with the theoretical aspects of the introducing this text to the dialogue - this contact is the problem of intertexuality. The special attention is given to the dialogical contact between the texts. There is no isolated formation of the term in the works of M.M. Bachtin and J. statement. There is neither the first nor the last word, there are Kristeva and to its definition in the modern literary studies. no limits to the dialogic context (it goes into the infinite past Intertextuality is seen as a central feature of postmodern poetics, and the infinite future), according to Bakhtin, emphasizing that the basis of postmodern writing. In postmodern philosophy the the meaning is revealed and generated at the intersection of interaction of texts appears as a universal principle of the texts, "his" and "alien" words, in the process of existence of culture. The concept of the world as text, communication, the meeting of two subjects - the author and characteristic of the current cultural situation, implies that every the reader, each of which is immersed in the infinite cultural text, be it literary, historical, social, turns out, regardless of the context [1].
    [Show full text]
  • Harry Potter and the Honors Thesis: a Look at Pastiche and Free Indirect Discourse in J.K
    Harry Potter and the Honors Thesis: A Look at Pastiche and Free Indirect Discourse in J.K. Rowling‘s Texts Katelyn R. Kopp English Department Advisor: Professor Mark Winokur Committee Members: Dr. Cathy Lynn Preston English Dept. Professor Mark Winokur English Dept. Professor Jeremy F. Green English Dept. Professor Scot Douglass Humanities Dept. University of Colorado, Boulder Defense Date: March 31, 2011 Kopp 2 ABSTRACT: The focus of this paper is to legitimize J.K. Rowling‘s Harry Potter series by way of asserting the aesthetics and literary merit of the books, as well as their impact on a generation of readers. This is done by defining the Harry Potter series as texts that utilize the writing technique of pastiche, as opposed to pastiche as a means of postmodern criticism, and by defining this technique through such things as Rowling‘s recycling of western mythoi, her subtle focus on social issues, and the application of the nineteenth century narration style of Free Indirect Discourse. All of these elements appear within each of the seven novels and by highlighting them as elements that add complexity and innovation to the texts, I align the popular novels with writers such as Austen and Dickens; thereby placing the series and fantasy fiction genre in a higher realm of literature. By interrogating each of these areas of the texts, as well as drawing on the literary theories of Fredric Jameson, Richard Dyer, and others, I demonstrate the relevance of the Harry Potter series in the postmodern world as well as justify their popularity amongst the masses of western readers.
    [Show full text]
  • Epistolary Encounters: Diary and Letter Pastiche in Neo-Victorian Fiction
    Epistolary Encounters: Diary and Letter Pastiche in Neo-Victorian Fiction By Kym Michelle Brindle Thesis submitted in fulfilment for the degree of PhD in English Literature Department of English and Creative Writing Lancaster University September 2010 ProQuest Number: 11003475 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11003475 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This thesis examines the significance of a ubiquitous presence of fictional letters and diaries in neo-Victorian fiction. It investigates how intercalated documents fashion pastiche narrative structures to organise conflicting viewpoints invoked in diaries, letters, and other addressed accounts as epistolary forms. This study concentrates on the strategic ways that writers put fragmented and found material traces in order to emphasise such traces of the past as fragmentary, incomplete, and contradictory. Interpolated documents evoke ideas of privacy, confession, secrecy, sincerity, and seduction only to be exploited and subverted as writers idiosyncratically manipulate epistolary devices to support metacritical agendas. Underpinning this thesis is the premise that much literary neo-Victorian fiction is bound in an incestuous relationship with Victorian studies.
    [Show full text]
  • A Journal of Translation, Language, and Literature Vol. 1 September 2017
    A Journal of Translation, Language, and Literature Vol. 1 September 2017 Open-Access Online Publication 2017 All the works published in this volume are licensed under the Creative Commons Attribution 3.0 Unported License. See: http://creativecommons.org/licenses/by/3.0/ Published by the Department of Translation at the Institute of English Studies, University of Wrocław and the Translatio Doctoral Students' Association. Academic Committee: Marek Kuźniak (University of Wrocław, Poland) Michał Garcarz (University of Wrocław, Poland) Michał Szawerna (University of Wrocław, Poland) Marcin Walczyński (University of Wrocław, Poland) Reviewers: prof. Elżbieta Muskat-Tabakowska (Jagellonian University, Poland) prof. Roman Lewicki (State University of Applied Sciences in Konin, Poland) prof. Julian Maliszewski (Czestochowa University of Technology, Poland) prof. Outi Paloposki (University of Turku, Finland) prof. Leszek Berezowski (University of Wrocław, Poland) dr. Piotr Blumczyński (Queen's University Belfast, Northern Ireland) dr. Marcin Walczyński (University of Wrocław, Poland) dr. Michał Szawerna (University of Wrocław, Poland) dr. Mateusz Świetlicki (University of Wrocław, Poland) Editor-in-chief: Dawid Czech Language Editors: Agata Słowik Krzysztof Hwaszcz Jędrzej Olejniczak Patrycja Karpińska Jakub Wieczorek TranslatoLogica. Institute of English, University of Wrocław, Kuźnicza 22 , 50-138 Wrocław Table of Contents Dawid Czech A Note from the Editors ...............................................................................................................
    [Show full text]
  • Introduction
    INTRODUCTION This volume presents all independent sets of keyboard The preface to this work contains some useful remarks about variations known to have been composed by Carl Philipp the art of varying.2 Emanuel Bach. In addition to the sets of variations listed by Alfred Wotquenne as Wq 118/1–10, this edition in- Nevertheless, variation cycles play but a small role within cludes the Arioso in A Major with 5 Variations (an early Carl Philipp Emanuel Bach’s vast oeuvre for keyboard in- keyboard version of the Trio in A Major, Wq 79) and, as struments. The present volume contains those works that a work of uncertain authorship, the Arioso in A Major, have been transmitted as independent keyboard cycles. H 351, in versions with six and eight variations. Bach subsumed these compositions under “solos” for key- The importance of variation in performances of eigh- board; in the context of their original publications, two teenth-century keyboard music is evident in the famous further sets of variations were labeled “sonata.” The latter words from the preface to Carl Philipp Emanuel Bach’s term applies to the Sonata in C Minor, Wq 50/6, from the Sechs Sonaten fürs Clavier mit veränderten Reprisen (Ber- Sechs Sonaten mit veränderten Reprisen (a single movement lin, 1760): “Varying repetitions is indispensable these days. that can be described either as a rondo or as a set of double One expects it from every performer. One wants to see variations on two related themes, one in the major mode, nearly every idea varied in the repetition.”1 Although these one in the minor mode);3 and also to the Variations in C words were written about keyboard pieces with varied re- Major for keyboard with violin and a violoncello accompa- prises, this statement referred to performance practice in niment, the last piece in the trios Wq 91 (see CPEB:CW, the broadest sense, as can be seen in Johann Georg Sulzer’s II/4), which later served as the basis for the keyboard vari- Allgemeine Theorie der Schönen Künste: ations Wq 118/10.
    [Show full text]
  • Marita Sturken and Lisa Cartwright's
    Practices of Looking An Introduction to Visual Culture Second Edition Marita Sturken and Lisa Cartwright New Yo rk Oxford OXFORD UNIVERSITY PRESS 2009 OXFORD contents U N IVERSITY PRESS Oxford University Press. Inc., publishes works that further Oxford University's objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dares Salaam Hong Kong Karachi Kuala lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam acknowledgments IX Copyright © 2009 by Marita Sturken and Lisa Cartwright introduction 1 Published by Oxford University Press, Inc . 198 Madison Avenue, New York. New York 10016 chapter 1 Images, Power, and Politics www.oup.com 9 Oxford is a registered trademark of Oxford University Press Representation 12 All rights reserved . No part of this publication may be reproduced, The Myth of Photographic Truth 16 stored in a retrieval system. or transmitted, in any form or by any means. electronic, mechanical. photocopying, recording, or otherwise, Images and Ideology 22 without the prior permission of Oxford University Press. How We Negotiate the Meaning of Images 26 Library of Congress Cataloging-in-Publication Data The Value of Images 34 Sturken, Marita Image Icons Practices of looking : an introduction to visual culture I Marita Sturken 36 and lisa Cartwright.-2nd ed. p. em . chapter 2 Viewers Make Meaning 49 ISBN 978-0-19-531440-3 1. Art and society. 2. Culture. 3. Visual perception. 4. Visual Producers' Intended Meanings 52 communication.
    [Show full text]