DOCSLIB.ORG

O Repertório Dos Sécs. Xx E Xxi Para O Duo Viola E Violoncelo: Um Catálogo De Obras E a Construção Da Sonoridade Do Duo Na Interpretação

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
O Repertório Dos Sécs. Xx E Xxi Para O Duo Viola E Violoncelo: Um Catálogo De Obras E a Construção Da Sonoridade Do Duo Na Interpretação UNIVERSIDADE FEDERAL DE MINAS GERAIS ESCOLA DE MÚSICA LARISSA NATÁLIA FERREIRA DE MATTOS O REPERTÓRIO DOS SÉCs. XX E XXI PARA O DUO VIOLA E VIOLONCELO: UM CATÁLOGO DE OBRAS E A CONSTRUÇÃO DA SONORIDADE DO DUO NA INTERPRETAÇÃO BELO HORIZONTE 2016 LARISSA NATÁLIA FERREIRA DE MATTOS O REPERTÓRIO DOS SÉCs. XX E XXI PARA O DUO VIOLA E VIOLONCELO: UM CATÁLOGO DE OBRAS E A CONSTRUÇÃO DA SONORIDADE DO DUO NA INTERPRETAÇÃO Trabalho apresentado ao Programa de Pós- Graduação em música da Escola de Música da Universidade Federal de Minas Gerais como requisito parcial para a obtenção do título de Mestre em Música. Linha de Pesquisa: Performance Musical Orientador: Prof. Dr. Carlos Aleixo dos Reis BELO HORIZONTE 2016 M435r Mattos, Larissa Natália Ferreira de O repertório dos sécs. xx e xxi para o duo viola e violoncelo: um catálogo de obras e a construção da sonoridade do duo na interpretação. / Larissa Natália Ferreira de Mattos. --2016. 188 f., enc.; il. + 1 DVD Orientador: Carlos Aleixo dos Reis. Área de concentração: Performance musical. Dissertação (mestrado) – Universidade Federal de Minas Gerais, Escola de Música. Inclui bibliografia. 1. Viola e violoncelo 2. Catálogos Música. I. Reis, Carlos Aleixo dos. II. Universidade Federal de Minas Gerais. Escola de Música. III. Título. CDD: 780.16 À violista Cindy Folly, minha companheira e fonte de inspiração AGRADECIMENTOS À minha amada e admirada companheira de vida e profissional Cindy Folly, por todo apoio, confiança, incentivo, carinho, paciência, amizade, dedicação e pelo grande exemplo humano de integridade de caráter e profissionalismo que me inspiram a cada dia. Ao meu orientador, professor Dr. Carlos Aleixo dos Reis pelo decoro e profissionalismo, por todo grandioso apoio, confiança e paciência para a realização dessa pesquisa. A todos os compositores e compositoras, intérpretes, acervos e bibliotecas que estive em contato e contribuíram para a realização desse trabalho, pela atenção, interesse, disponibilidade, gentileza, respeitabilidade, informações sobre as obras e, sobretudo, pela doação das gravações e partituras. À minha mãe Maria Antônia, ao meu pai Luiz Cláudio e minhas irmãs Luana e Lariana por todo apoio, incentivo e credibilidade mesmo em momentos difíceis e dias duros durante todos esses anos de estudos, sem vocês não teria chegado até aqui. A todos os meus professores e professoras desde o ensino básico escolar e musical até o ensino superior por todos os ensinamentos, pelas boas experiências, lições de vida e valores que me foram transmitidos com tanto carinho e responsabilidade. A vocês desejo a valorização devida e o reconhecimento merecido. A todas as minhas queridíssimas amigas e amigos que contribuíram direta e indiretamente para o meu desenvolvimento humano e profissional, pelos momentos sinceros, dedicados, alegres, difíceis e delicados que vivenciamos. Meus mais intensos e sinceros agradecimentos! “Aquele que não tem memória arranja uma de papel.” (Gabriel García Marquez) RESUMO O duo viola e violoncelo manteve-se desde o século XVII até o século XIX com um número restrito de obras, sendo Obbligato Eyeglasses WOo. 32 (1797) do compositor Ludwig van Beethoven (1770-1827) uma das mais executadas pelos/as intérpretes até a atualidade. Entretanto, a partir do século XX, a valorização tímbrica e as experimentações com diversos instrumentos não usuais fizeram com que o repertório para essa e outras formações menos comuns aumentasse significativamente. Através de pesquisa em diversos acervos e bibliotecas on-line e do contato com compositores/as nacionais e internacionais via e-mail, pôde-se localizar 408 obras de nível intermediário/avançado para o duo viola e violoncelo datadas dos séculos XX e XXI que expandiram e aprimoraram as possibilidades dialógicas e idiomáticas desta formação. Esta pesquisa propõe a elaboração de um catálogo contendo obras de nível intermediário/avançado do repertório nacional e internacional dos séculos XX e XXI para o duo viola e violoncelo, tendo como objetivo principal a difusão desse repertório através da disponibilização do contato do/a compositor/a – publicamente disponíveis, e dos endereços webs onde é possível comprar ou baixar a partitura e registros fonográficos. Além disso, para que esta pesquisa não se restrinja somente ao meio acadêmico, esse catálogo poderá ser encontrado em um website em língua inglesa elaborado pela autora deste trabalho, com acesso em www.chordataduo.wix.com/violacello, que dará acessibilidade a esse repertório e divulgará essa formação camerística em maior abrangência. Com referências em Barnes (2005), Blum (1986), Dalton (1988), Faria (2012), Galamian (1985), Pleth (1986), Rebello (2011) e Wilson (2015), esta pesquisa também apresenta aspectos técnico-interpretativos sobre a produção de som nos dois instrumentos individualmente e como a consciência desses aspectos no estudo do/a instrumentista podem influenciar no controle do timbre do som, realçando cores, similaridades e diferenças tanto no repertório do duo, como também em outros grupos de câmara em que esses dois instrumentos estão presentes. Essa discussão e a análise técnica e interpretativa de alguma das obras desse repertório poderão servir de apoio para estudantes e profissionais da música que necessitam se aprofundar em aspectos técnicos na viola e no violoncelo diretamente ligado à emissão sonora. Palavras-chave: duo viola e violoncelo, catálogo de obras para viola e violoncelo, obras viola e violoncelo, sonoridade do duo viola e violoncelo, controle do timbre. ABSTRACT The duo viola and cello remained since the seventeenth century to the nineteenth century with a limited number of works being Obbligato Eyeglasses WoO. 32 (1797) of the composer Ludwig van Beethoven (1770-1827) one of the most performed by interpreters to the present. However, from the twentieth century, the tonal value and trials with several unusual instruments made the repertoire for this and other less common formations increased significantly. However, through research in various online archives and libraries and contact with national and international composers via e-mail, could be located 408 works of intermediate/ advanced level for the duo viola and cello dating from the XX and XXI centuries that expanded and improved the dialogic and idiomatic possibilities of this duo. Therefore, this research proposes the development of a catalogue containing intermediate/advanced level pieces of the twentieth and twenty-first centuries for the duo viola and cello, with the main focus on the dissemination of this repertoire by providing contact the composer - publicly available, and websites addresses where you can buy or download the sheet music and recordings. In addition to that this research is not restricted only to the academic environment, this catalog can be found on a website in English, prepared by the author of this research with access on www.chordataduo.wix.com/violacello, which will give accessibility to this repertoire and disseminate this chamber music formation in larger scope. With references in Barnes (2005), Blum (1986), Dalton (1988), Faria (2012), Galamian (1985), Pleth (1986) and Wilson (2015), this research also presents technical and interpretative aspects of sound production on both instruments individually and as awareness of these aspects in the study of the performer may influence the control of the timbre of the sound, enhancing colors, similarities and differences in the duo's repertoire, as well as other chamber groups where these two instruments are present. This discussion and the technical and interpretative analysis of some of the works of this repertoire may be in support for students and music professionals who need to develop into the technical aspects on the viola and cello. Keywords: viola and cello duo, catalogue of works viola and cello, pieces for viola and cello, viola and cello duo sounding, timbre control. LISTA DE FIGURAS FIGURA 1: Surdina de borracha tipo Tourte com dois dentes de encaixe...............................35 FIGURA 2: Surdina de borracha tipo Tourte com um dente de encaixe..................................35 FIGURA 3: Surdina de borracha tipo Tourte-Bech com um dente de encaixe........................35 FIGURA 4: Surdina de metal, modelo 1...................................................................................35 FIGURA 5: Surdina de metal com 4 pontas, modelo 2............................................................35 FIGURA 6: Surdina de metal com 3 pontas, modelo 3............................................................36 FIGURA 7: Surdina de madeira tipo ébano com 3 pontas.......................................................36 FIGURA 8: Surdina “garfo 5 pontas” de material sintético.....................................................36 FIGURA 9: Sugestões de mudança de dinâmica na parte do violista e corda a ser usada em ambas as partes, c.1-6 em Suite for viola and cello, 5º mov (KARABEY, 1999) ................... 42 FIGURA 10: Sugestões de golpe de arco e dedilhados na parte do violoncelista, c.3-5 em Suite for viola and cello, 5º mov (KARABEY, 1999) ............................................................. 43 FIGURA 11: Continuidade de linha melódica com interrupções escritas, c.1-9 em Englyn Forms, Second Set (WINGES, 1994) ...................................................................................... 44 FIGURA 12: Sobreposição de vozes, c.8-9 em Partita Brevis 2 (KARLSEN, 1994) ............ 46 FIGURA 13: Sobreposição melódica, nota em comum como base, c.1-15 em And Life
Load more

Recommended publications
  • The Puerto Papers
    The Puerto Papers Edited by David Forrest Commission on Music in Cultural, Educational & Mass Media Policies in Music Education 1 2 The Puerto Papers 3 4 The Puerto Papers Edited by David Forrest Commission on Music in Cultural, Educational & Mass Media Policies in Music Education 5 Published by International Society for Music Education (ISME) PO Box 909 NEDLANDS 6909 Western Australia ! Commission on Music in Cultural, Educational and Mass Media Policies ISME 2004 First published 2004 All rights reserved. This publication is copyright. Apart from any fair dealing for the purpose of private study, research, criticism or review, as permitted under the Copyright Act 1968, no part of this publication may be reproduced, by any process, without the written permission of the Editors. Nor may any part of this publication be stored in a retrieval system, or transmitted by any means electronic, mechanical, photocopying or otherwise. The publication has been prepared for the members of the Commission on Music in Cultural, Educational and Mass Media Policies of the International Society for Music Education. The opinions expressed in the publication are those of the authors and do not necessarily reflect the views of the Commission on Music in Cultural, Educational and Mass Media Policies of the International Society for Music Education or the Editors. While reasonable checks have been made to ensure the accuracy of statements and advice, no responsibility can be accepted for errors and omissions, however caused. No responsibility for any loss occasioned to any person acting on or refraining from action as a result of material in this publication is accepted by the authors, the Commission on Music in Cultural, Educational and Mass Media Policies of the International Society for Music Education or the Editors.
    [Show full text]
  • Chapter 1: Place §1 Chinese Popular Music
    The performance of identity in Chinese popular music Groenewegen, J.W.P. Citation Groenewegen, J. W. P. (2011, June 15). The performance of identity in Chinese popular music. Retrieved from https://hdl.handle.net/1887/17706 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/17706 Note: To cite this publication please use the final published version (if applicable). Chapter 1: Place §1 Chinese Popular Music After introducing the singer and describing his migration from Malaysia to Singa- pore and his recent popularity in Hong Kong, Taiwan, and all over the Chinese di- aspora, the anchor [of the 1995 May 1st Concert] asked Wu [Qixian] how he de- fined himself in the final analysis. The musician’s reply, “I am Chinese” (wo shi Zhongguoren), which stirred a most enthusiastic and warm response from the au- dience, encapsulated everything Wu’s participation stood for, at least from the point of view from the state… By inviting … gangtai singers to participate in concerts and television programs, the Chinese state is not engaged so much in competing with other Chinese politics and identities … but rather in contesting their independence and in co-opting them into a greater Chinese nationalism, of which China is the core. In other words, the Chinese state is engaged in appropri- ating the concept of Greater China (Da Zhonghua).1 Gangtai is a 1980s PRC term for highly successful cultural products from Hong Kong (xiang gang) and Taiwan. In the above quotation, Nimrod Baranovitch rightly recognizes Hong Kong and Taiwan as major areas of production of Chinese pop music.
    [Show full text]
  • Fall 2019 Rizzoli Fall 2019
    I SBN 978-0-8478-6740-0 9 780847 867400 FALL 2019 RIZZOLI FALL 2019 Smith Street Books FA19 cover INSIDE LEFT_FULL SIZE_REV Yeezy.qxp_Layout 1 2/27/19 3:25 PM Page 1 TABLE OF CONTENTS RIZZOLI Marie-Hélène de Taillac . .48 5D . .65 100 Dream Cars . .31 Minä Perhonen . .61 Achille Salvagni . .55 Missoni . .49 Adrian: Hollywood Designer . .37 Morphosis . .52 Aēsop . .39 Musings on Fashion & Style . .35 Alexander Ponomarev . .68 The New Elegance . .47 America’s Great Mountain Trails . .24 No Place Like Home . .21 Arakawa: Diagrams for the Imagination . .58 Nyoman Masriadi . .69 The Art of the Host . .17 On Style . .7 Ashley Longshore . .43 Parfums Schiaparelli . .36 Asian Bohemian Chic . .66 Pecans . .40 Bejeweled . .50 Persona . .22 The Bisazza Foundation . .64 Phoenix . .42 A Book Lover’s Guide to New York . .101 Pierre Yovanovitch . .53 Bricks and Brownstone . .20 Portraits of a Master’s Heart For a Silent Dreamland . .69 Broken Nature . .88 Renewing Tradition . .46 Bvlgari . .70 Richard Diebenkorn . .14 California Romantica . .20 Rick Owens Fashion . .8 Climbing Rock . .30 Rooms with a History . .16 Craig McDean: Manual . .18 Sailing America . .25 David Yarrow Photography . .5 Shio Kusaka . .59 Def Jam . .101 Skrebneski Documented . .36 The Dior Sessions . .50 Southern Hospitality at Home . .28 DJ Khaled . .9 The Style of Movement . .23 Eataly: All About Dolci . .40 Team Penske . .60 Eden Revisited . .56 Together Forever . .32 Elemental: The Interior Designs of Fiona Barratt Campbell .26 Travel with Me Forever . .38 English Gardens . .13 Ultimate Cars . .71 English House Style from the Archives of Country Life .
    [Show full text]
  • Fusion Process in the Instrumental Works by Chen Yi Xin Guo
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2002 Chinese Musical Language Interpreted by Western Idioms: Fusion Process in the Instrumental Works by Chen Yi Xin Guo Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC CHINESE MUSICAL LANGUAGE INTERPRETED BY WESTERN IDIOMS: FUSION PROCESS IN THE INSTRUMENTAL WORKS BY CHEN YI By XIN GUO A Dissertation submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2002 The members of the Committee approve the dissertation of Xin Guo defended on November 6, 2002. James Mathes Professor Directing Dissertation Andrew Killick Outside Committee Member Jane Piper Clendinning Committee Member Peter Spencer Committee Member Approved: Seth Beckman, Assistant Dean for Academic Affairs and Director of Graduate Studies, School of Music ACKNOWLEDGMENTS I would like to express my deepest gratitude to many people who have helped me in one way or another during my research and writing of this dissertation. Dr. Chen Yi’s music inspired me to choose the topic of this project; she provided all the scores, the recordings, and her reference materials for me and responded to my questions in a timely manner during my research. Dr. Richard Bass guided me throughout my master’s thesis, an early stage of this project. His keen insight and rigorous thought influenced my thinking tremendously. Dr. Harris Fairbanks spent countless hours proofreading both my thesis and dissertation. His encouragement and unwavering support helped me enormously and for this I am deeply indebted to him.
    [Show full text]
  • Ch2, Morcom, Unity and Discord, 2004
    31 Chapter Two Cultural policy, modernization and change in Tibetan music from 1951 until the 1980s Guided by the principle in literature and art of “letting a hundred flowers blossom and weeding the old to bring forth the new”, writers and artists have studied and rearranged the traditional features of Tibetan opera. They have improved costumes, stage props, settings and make-up by assimilating elements of the classical operas of the Han culture. – Tales from Tibetan opera: 12-13, by Chinese scholar Wang Yao, 1986. The first period of ‘liberation’: 1951-1965 Policy towards the arts in Tibet was initially based closely on Mao’s statements at the Talks at the Yan’an Conference on Literature and Art in Yan’an in 1942, and from the early 1950s, changes were implemented that aimed at ‘reforming’ certain traditions of Tibetan performing arts and ‘developing’ them according to the paternalistic and ethnocentric notions described in the previous chapter. This resulted in increasing Chinese influence on certain Tibetan genres during this period. Government initiatives were also aimed at preserving traditions of Tibetan music, but these were either more ‘development’ based, implementing change rather than preserving, or focused on the documentation of song texts, which had no significant effect on living musical traditions. New genres were also introduced to Tibet during this period: revolutionary ‘folksongs’ and spoken drama (as opposed to traditional sung drama or Tibetan opera, Ache Lhamo). The revolutionary ‘folksongs’ were purely propaganda, and the spoken drama also followed the Party line closely. Overall, the policies of the period prior to the Cultural Revolution only affected small pockets of Tibetan musical culture in cities and left the countryside, where the vast majority of Tibetans lived, virtually untouched.
    [Show full text]
  • The Making of Woodwind Art in China
    Volume 9 - Issue 27 / March 2020 301 DOI: http://dx.doi.org/10.34069/AI/2020.27.03.33 The Making of Woodwind Art in China Становление искусства игры на деревянно-духовых инструментах в Китае Received: December 28, 2019 Accepted: February 15, 2020 Written by: Liu Yang102 ORCID: 0000-0003-1063-2637 Svetlana Anatolievna Mozgot103 Spin-code: 530-244 ORCID: 0000-0002-5342-6940 Abstract Аннотация The phenomenon of the formation of the Феномен становления искусства игры на woodwind instrument art in China of the 20th деревянно-духовых инструментах в Китае ХХ century is due to the unique synthesis of Western века обусловлен уникальным синтезом European traditions and the experience of западноевропейских традиций и опытом игры playing traditional national wind instruments. на традиционных национальных духовых The relevance of the study is due to the fact that инструментах. Актуальность исследования the growth of professionalism among musicians- связана с тем, что рост профессионализма performers stimulates composer creativity, среди музыкантов-исполнителей стимулирует producing the development by Chinese композиторское творчество, продуцируя composers of the styles and genres of Western освоение китайскими композиторами стилей и European music. In turn, the combination of жанров западноевропейской музыки. В свою styles and genres of academic art with intonation очередь, сочетание стилей и жанров and expressive means of national Chinese music академического искусства с интонацией и creates new, interesting examples of musical средствами выразительности национальной compositions by contemporary Chinese китайской музыки создаёт новые, интересные composers, worthy of a separate in-depth study. образцы музыкальных сочинений The purpose of the article is to consider the современных композиторов Китая, достойные prerequisites, features of the formation of the отдельного глубокого изучения.
    [Show full text]
  • China Today a Festival of Chinese Composition 当代中国 一场中国作曲创作的盛典 the Juilliard School Presents
    Focus! Festival China Today A Festival of Chinese Composition 当代中国 一场中国作曲创作的盛典 The Juilliard School presents The 34th annual Focus! festival Focus! 2018 China Today: A Festival of Chinese Composition Joel Sachs, Director TABLE OF CONTENTS 1 Introduction to Focus! 2018 5 Program I Friday, January 19, 7:30pm 12 Program II Monday, January 22, 7:30pm 19 Program III Tuesday, January 23 Preconcert Forum, 6:30pm; Concert, 7:30pm 26 Program IV Wednesday, January 24, 7:30pm 33 Program V Thursday, January 25, 7:30pm 39 Program VI Friday, January 26, 7:30pm 48 Focus! Staff This performance is supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Introduction to Focus! 2018 By Joel Sachs Almost a year ago, Juilliard president Joseph W. Polisi and I convened to consider the theme of the coming Focus! festival, a concept we jointly created in his first semester as president in 1984. This time, however, contemplating his final festival as Juilliard’s president, Dr. Polisi had a specific request—a focus on China, linked to the milestone project with which his tenure is culminating: the establishment of Juilliard’s campus in Tianjin. While China had been in my mind as a Focus! topic for years it always got pushed aside, largely by the thought of what would be involved in trying to survey the composers of such a huge, diverse, and culturally rich nation.
    [Show full text]
  • Neuerscheinungen Musik – Frühjahr / Sommer 2016 Mein Schönstes Hobby
    SCHOTT MUSIC Spielend lernen! Mit Instrumentalschulen von Schott Music Neuerscheinungen Musik – Frühjahr / Sommer 2016 mein schönstes Hobby Die beliebte Lehrbuchreihe Europäische Klavierschule Piano Kids Blockflöte lernen Mit Spiel und Spaß, dem Flötenzirkus und Flötenzauber Fröhliche Schulen Für Violine, Viola, Querfl öte, Klarinette, Saxophon und Trompete Celloschule Die neue, moderne Schule von Gabriel Koeppen Gitarrenschulen für jedes Alter Von Schulen für Kinder bis Rock- und Popschulen Diese und viele weitere Schulen aus unserem umfangreichen Lehrbuch-Programm fi nden Sie auf 9 790001 138529 > www.schott-music.com/instrumentalschulen ISMN 979-0-001-13852-9 KAT 128-99 2 KLAVIER Garantiert topaktuelle Hits! Für Klavier und Keyboard • 8 aktuelle Chart-Hits 2 HEFTE IN EINEM! Klavierarrangement & Melodieausgabe zum Herausnehmen • Leicht spielbar für Klavier und Keyboard TOP 1OO • Mit Songs von Namika, Jus- tin Bieber und Robin Schulz HIT COLLECTION 74 Mit der Top 100 Hit Collection gibt es DAS BESTE AUS DEN CHARTS Noten · Texte · Akkorde · Tipps immer die besten Noten der heißesten Chartstürmer! In dieser Ausgabe da- bei: Lieblingsmensch von Newcomerin Namika, Cros Unplugged-Hit Bye Bye, die groovige Pop-Nummer Can’t Feel My Face von The Weeknd sowie wei- tere Top-Titel. Die leichten bis mittel- Die neue Hit-Single von Superstar Justin Bieber – schweren Arrangements sind auf Kla- erhältlich bei Universal Music vier oder Keyboard abgestimmt. Das herausnehmbare Leadsheet hält die • Justin Bieber What Do You Mean? Hauptstimme für Gesang, Melodie- • Namika Lieblingsmensch instrument oder Gitarre bereit und ist • Robin Schulz Sugar so fl exibel einsetzbar. • Cro Bye Bye • Anna Naklab Supergirl • Joris Herz über Kopf Top 100 Hit Collection 74 • R.
    [Show full text]
  • Chinesische Kunstmusik Der 1980Er Jahre
    Chinesische Kunstmusik der 1980er Jahre Aushandlung, Transformation und Transzendenz von „Eigenem und Fremdem“ Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Rheinischen Friedrich-Wilhelms-Universität zu Bonn vorgelegt von Hannes Jedeck aus Hamburg Bonn 2020 Gedruckt mit der Genehmigung der Philosophischen Fakultät der Rheinischen Friedrich- Wilhelms-Universität Bonn Zusammensetzung der Prüfungskommission: Prof. Dr. Martin Aust (Prüfungsvorsitzender) Prof. Dr. Tobias Janz (Betreuer und Gutachter) Prof. Dr. Michael Friedrich (Gutachter) Prof. Dr. Christine Siegert (weiteres prüfungsberechtigts Mitglied) Tag der mündlichen Prüfung: 26.06.2019 Vorwort und Danksagung Wenn Doktoranden die Zeit ihrer Dissertation mit einer weiten Reise vergleichen, kommt es einem bisweilen wie eine leere Floskel vor. Doch gerade im Nachhinein erscheint mir der Vergleich als überaus passend: Einem ausgiebigen Pläneschmieden und vielen Gedanken folgten die ersten Schritte, die ersten Sätze auf dem weißen Papier, nicht ahnend, was alles noch kommen würde, welche Schwierigkeiten und welche Freuden warten würden. Zeitweise schien das Ziel der fertigen Dissertation im Nebel unendlicher Ferne zu verschwinden, dann – oft ohne erkennbare Veränderung – wieder in greifbare Nähe zu rücken. Beides erwies sich letztendlich als trügerisch und so war wohl jeder geplante Schritt ein wichtiger in Richtung der erfolgreichen Promotion. Zur Metapher passt auch, dass die Zeit, in der ich an der Dissertation gearbeitet habe, von ganz realen Reisetätigkeiten geprägt war. Hierzu zählen die zwei Besuche des erst kürzlich größtenteils an die Universität Heidelberg übertragenen CHIME-Archivs in Leiden, bei denen ich die Freude hatte, Frank Kouwenhoven kennen zu lernen, der mir Zugang zu seiner über Jahrzehnte aufgebauten Sammlung asiatischer Musik und damit zu einem großen Teil des in der Dissertation verwendeten Quellenmaterials verschafft hat.
    [Show full text]
  • Tibetan Buddhist Kama Sutra and Tantric Sex
    Volume 4, Issue 4, May 2006 THE TIBET ISSUE Trekking in and Around Lhasa From Lhasa to Everest Base Camp The Tibetan Kama Sutra & Tantric Sex Positions The Tibetan Book of the Dead Tibetan Film & Music Reviews May Getting Out There – Your Guide to Business Traveling, Living & Culture Across China From Harbin to Hainan, from Wuxi to Urumqi and all cities inbetween Complimentary Subscription at www.chinaexpat.com if you wish to receive this magazine - free of charge via email every month - please complete subscription details on our homepage Hi, I’m Lucy Lu and welcome to the May issue of ChinaExpat.com – and in this issue we feature Lhasa and some Tibetan trekking and culture ! For the adventurous there is a piece on getting to the Everest base camp, and for the Buddhists amongst you a review of the classic “Book of the Dead” – plus a couple of films and music reviews. We also feature an extensive piece on Lhasa itself as it’s pretty much the starting point for many Tibetan adventures and there is a lot to see there. We also follow up on the rock singer Stings much publicized Tantric sex practices and bring you a piece on Tibetan Tantric sex positions, descriptions, and the history of the Buddhist Kama Sutra. Enjoy this issue and see you next month ! Best wishes Lucy SUBSCRIBE TO CHINA EXPAT !!! CHINA EXPAT LOCAL PARTNER SITES & FREE MAGAZINE EACH MONTH, CHINA BLOGS WANTED !!! OVER 50 CITY GUIDES ONLINE AND FULL ACCESS TO ALL BACK ISSUES If you have a China website or blog with details of what to go, where to stay and what’s happening in your city or province, then we’d love to hear from you ! We can provide free links to your site on our relevant city guide section and help promote your website both online at chinaexpat.com and also in this magazine – for free ! With over 500,000 web views a month we can help drive traffic to your domain – our readers want information about China on a national basis and we are happy to promote your site from ours.
    [Show full text]
  • Music Analysis Through Visualization
    MUSIC ANALYSIS THROUGH VISUALIZATION Jia Li [email protected] CCRMA, Stanford University Shanghai Conservatory of Music ABSTRACT In this paper analytic visualizations are used to selectively highlight salient musical features in four modern compositions, focusing on micro or macro Early in the twentieth century, graphic techniques were structures: from motivic pitch contour to large-scale form. used to illustrate analytic aspects of musical scores. It can At a glance these visualizations allow a quick grasp of the be dated back at least to Alfred O. Lorenz (1924), who structure and assist listeners to make connections between used graphs to show the modulatory scheme for Wagner's local features and global trends. Textures obscured by Ring Cycle [3]. He developed a method of exploring musical notation become more apparent when displayed Wagner’s musical texture as large, closed totalities. With in a graphical format, such as broad registral shifts, the increasing popularity of computers in the 1970s, polyphonic streaming, as well as interplay between music visualization becomes more accessible; either from instruments. Pitch, timbre and voicing are plotted against pitch and rhythm extracted from traditional scores or time to show large-scale patterns that would otherwise be sound-based visualizations such as waveforms and difficult to recognize in a musical score or compare sonograms. between different works. Music analysis through While sound-based visualizations are useful for compositional data visualization not only makes sense to displaying performance information, this paper examines musicians but also to non-musicians, facilitating compositional structures that are best visualized from collaboration and exchange with artists and technicians in data.
    [Show full text]
  • Musicathlon English:Layout 1
    Shanghai Conservatory SHANGHAI, CHINA Wednesday, July 9 7:30 p.m. Central Conservatory Concert Hall Spuanava, for String Quartet Zhao Guang Intermission 1st movement 2nd movement Shanghai New Ensemble Theme and Variation Henryk Wieniawski He Xian, violin (1835-1880) Yuan Jiamin, violin Wang Zhijiong, violin Wei Zhen, viola Yin Yue, piano Chen Weiping, cello Dialogue I, for Cello and Zheng Qi Yao Polonaise from Onegin Tchaikovsky–Liszt Shanghai New Ensemble Ricordanza Franz Liszt Qi Yao, zheng Valse Oubliée No.1 Liszt Chen Weiping, cello Rakóczy March Liszt–Horowitz Yu (Jade), for Pipa and String Quartet Zhu Jian-er Wang Jue, piano Shanghai New Ensemble Qin Yi, pipa I Love you, China Music: Zheng Qiufeng He Xian, violin Lyrics: Qu Cong Yuan Jiamin, violin “Vissi d’arte, vissi Giacomo Puccini Wei Zhen, viola d’amore” from Tosca (1858-1924) Chen Weiping, cello “The Jewel Song” Charles Gounod from Faust (1818-1893) Li Xiuying, soprano Wei Fugen, piano Shanghai Conservatory Yang Liqing, President The Shanghai Conservatory of Music is a music institute Shanghai Conservatory of famous both at home and abroad. It grew out of the Music, New Ensemble, Shanghai National Conservatory of Music, which was String Quartet, Percussion established in a common effort by Mr. Cai Yuanpei and Ensemble, National Music Dr. Xiao Youmei (Shio Yiu-mei) on November 27, 1927. Orchestra and Choir. Our teachers and students have won numerous awards Shanghai Conservatory of both home and abroad, thus earning the conservatory the Music maintains close name, “the cradle of musicians.” relationships with many The oldest institute of music higher education in China, first-class conservatories the Shanghai Conservatory of Music consists of thirteen and famous musicians, departments.
    [Show full text]