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The Idea of Mimesis: Semblance, Play, and Critique in the Works of Walter Benjamin and Theodor W
DePaul University Via Sapientiae College of Liberal Arts & Social Sciences Theses and Dissertations College of Liberal Arts and Social Sciences 8-2012 The idea of mimesis: Semblance, play, and critique in the works of Walter Benjamin and Theodor W. Adorno Joseph Weiss DePaul University, [email protected] Follow this and additional works at: https://via.library.depaul.edu/etd Recommended Citation Weiss, Joseph, "The idea of mimesis: Semblance, play, and critique in the works of Walter Benjamin and Theodor W. Adorno" (2012). College of Liberal Arts & Social Sciences Theses and Dissertations. 125. https://via.library.depaul.edu/etd/125 This Dissertation is brought to you for free and open access by the College of Liberal Arts and Social Sciences at Via Sapientiae. It has been accepted for inclusion in College of Liberal Arts & Social Sciences Theses and Dissertations by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. The Idea of Mimesis: Semblance, Play, and Critique in the Works of Walter Benjamin and Theodor W. Adorno A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy October, 2011 By Joseph Weiss Department of Philosophy College of Liberal Arts and Sciences DePaul University Chicago, Illinois 2 ABSTRACT Joseph Weiss Title: The Idea of Mimesis: Semblance, Play and Critique in the Works of Walter Benjamin and Theodor W. Adorno Critical Theory demands that its forms of critique express resistance to the socially necessary illusions of a given historical period. Yet theorists have seldom discussed just how much it is the case that, for Walter Benjamin and Theodor W. -
A Perspective of New Simplicity in Contemporary Composition: Song of Songs As a Case Study Isabel Maria Pereira Barata Da Rocha
MESTRADO COMPOSIÇÃO E TEORIA MUSICAL A perspective of New Simplicity in contemporary composition: Song of Songs as a case study Isabel Maria Pereira Barata da Rocha 06/2017 A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha MESTRADO M COMPOSIÇÃO E TEORIA MUSICAL A perspective of New Simplicity in contemporary composition: Song of Songs as a case study Isabel Maria Pereira Barata da Rocha Dissertação apresentada à Escola Superior de Música e Artes do Espetáculo como requisito parcial para obtenção do grau de Mestre em Composição e Teoria Musical Professor Orientador Professor Doutor Eugénio Amorim Professora Coorientadora Professora Doutora Daniela Coimbra 06/2017 A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha Dedico este trabalho a todos os homens e todas as mulheres de boa vontade. A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha Agradecimentos À minha filha Luz, que me dá a felicidade de ser sua mãe, pelo incentivo. Aos meus pais Ana e Luís, pelo apoio incondicional. A Ermelinda de Jesus, pela ajuda sempre disponível. À Fátima, à Joana e à Mariana, pela amizade profunda. Ao José Bernardo e aos avós Teresa e António José, pelo auxílio. Ao Pedro Fesch, pela compreensão e pela aposta na formação dos professores em quem confia. -
AMRC Journal Volume 21
American Music Research Center Jo urnal Volume 21 • 2012 Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder The American Music Research Center Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Dominic Ray, O. P. (1913 –1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music Eric Hansen, Editorial Assistant Editorial Board C. F. Alan Cass Portia Maultsby Susan Cook Tom C. Owens Robert Fink Katherine Preston William Kearns Laurie Sampsel Karl Kroeger Ann Sears Paul Laird Jessica Sternfeld Victoria Lindsay Levine Joanne Swenson-Eldridge Kip Lornell Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25 per issue ($28 outside the U.S. and Canada) Please address all inquiries to Eric Hansen, AMRC, 288 UCB, University of Colorado, Boulder, CO 80309-0288. Email: [email protected] The American Music Research Center website address is www.amrccolorado.org ISBN 1058-3572 © 2012 by Board of Regents of the University of Colorado Information for Authors The American Music Research Center Journal is dedicated to publishing arti - cles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and proposals from the scholarly community, ranging from 3,000 to 10,000 words (exclud - ing notes). All articles should be addressed to Thomas L. Riis, College of Music, Uni ver - sity of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301. Each separate article should be submitted in two double-spaced, single-sided hard copies. -
Minimalism and New Complexity in Solo Flute Repertoire by Twila Dawn Bakker Bachelor of Arts, Univer
Two Responses to Modernism: Minimalism and New Complexity in Solo Flute Repertoire by Twila Dawn Bakker Bachelor of Arts, University of Alberta, 2008 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the School of Music Twila Dawn Bakker, 2011 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Two Responses to Modernism: Minimalism and New Complexity in Solo Flute Repertoire by Twila Dawn Bakker Bachelor of Arts, University of Alberta, 2008 Supervisory Committee Dr. Jonathan Goldman, School of Music Supervisor Dr. Michelle Fillion, School of Music Departmental Member iii Abstract Supervisory Committee Dr. Jonathan Goldman, School of Music Supervisor Dr. Michelle Fillion, School of Music Departmental Member Wind repertoire, especially for flute, has received little focused attention in the musicological world especially when compared with other instruments. This gap in scholarship is further exacerbated when the scope of time is narrowed to the last quarter of the twentieth century. Although Minimalism and New Complexity are – at least superficially – highly divergent styles of composition, they both exhibit aspects of a response to modernism. An examination of emblematic examples from the repertoire for solo flute (or recorder), specifically focusing on: Louis Andriessen’s Ende (1981); James Dillon’s Sgothan (1984), Brian Ferneyhough’s Carceri d’Invenzione IIb (1984), Superscripto (1981), and Unity Capsule (1975); Philip Glass’s Arabesque in Memoriam (1988); Henryk Górecki’s Valentine Piece (1996); and Steve Reich’s Vermont Counterpoint (1982), allows for the similarities in both genre’s response to modernism to be highlighted. -
Kreuzspiel, Louange À L'éternité De Jésus, and Mashups Three
Kreuzspiel, Louange à l’Éternité de Jésus, and Mashups Three Analytical Essays on Music from the Twentieth and Twenty-First Centuries Thomas Johnson A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2013 Committee: Jonathan Bernard, Chair Áine Heneghan Program Authorized to Offer Degree: Music ©Copyright 2013 Thomas Johnson Johnson, Kreuzspiel, Louange, and Mashups TABLE OF CONTENTS Page Chapter 1: Stockhausen’s Kreuzspiel and its Connection to his Oeuvre ….….….….….…........1 Chapter 2: Harmonic Development and The Theme of Eternity In Messiaen’s Louange à l’Éternité de Jésus …………………………………….....37 Chapter 3: Meaning and Structure in Mashups ………………………………………………….60 Appendix I: Mashups and Constituent Songs from the Text with Links ……………………....103 Appendix II: List of Ways Charles Ives Used Existing Musical Material ….….….….……...104 Appendix III: DJ Overdub’s “Five Step” with Constituent Samples ……………………….....105 Bibliography …………………………………........……...…………….…………………….106 i Johnson, Kreuzspiel, Louange, and Mashups LIST OF EXAMPLES EXAMPLE 1.1. Phase 1 pitched instruments ……………………………………………....………5 EXAMPLE 1.2. Phase 1 tom-toms …………………………………………………………………5 EXAMPLE 1.3. Registral rotation with linked pitches in measures 14-91 ………………………...6 EXAMPLE 1.4. Tumbas part from measures 7-9, with duration values above …………………....7 EXAMPLE 1.5. Phase 1 tumba series, measures 7-85 ……………………………………………..7 EXAMPLE 1.6. The serial treatment of the tom-toms in Phase 1 …………………………........…9 EXAMPLE 1.7. Phase two pitched mode ………………………………………………....……...11 EXAMPLE 1.8. Phase two percussion mode ………………………………………………....…..11 EXAMPLE 1.9. Pitched instruments section II …………………………………………………...13 EXAMPLE 1.10. Segmental grouping in pitched instruments in section II ………………….......14 EXAMPLE 1.11. -
Messiaen's Influence on Post-War Serialism Thesis
3779 N8! RI. oIo MESSIAEN'S INFLUENCE ON POST-WAR SERIALISM THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC by Thomas R. Muncy, B.A. Denton, Texas August, 1984 Muncy, Thomas R., Messiaen's Influence on Post-'gar Serialism. Master of Music (Theory), August, 1984, 106 pp., 76 examples, biblio- graphy, 44 titles. The objective of this paper is to show how Olivier Messiaen's Mode de valeurs et d'intensites influenced the development of post- war serialism. Written at Darmstadt in 1949, Mode de valeurs is considered the first European work to organize systematically all the major musical parameters: pitch, duration, dynamics, articulation, and register. This work was a natural step in Messiaen's growth toward complete or nearly complete systemization of musical parameters, which he had begun working towards in earlier works such as Vingt regards sur 1'Enfant-Jesus (1944), Turangalila-symphonie (1946-8), and Cantyodjaya (1949), and which he continued to experiment with in later works such as Ile de Feu II (1951) and Livre d'orgue (1951). The degree of systematic control that Messiaen successfully applied to each of the musical parameters influenced two of the most prominent post-war serial composers, Pierre Boulez and Karlheinz Stockhausen, to further develop systematic procedures in their own works. This paper demonstrates the degree to which both Boulez' Structures Ia (1951) and Stockhausen's Kreuzspiel (1951) used Mode de valeurs as a model for the systematic organization of musical parameters. TABLE OF CONTENTS Page LIST OF EXAMPLES..-.........-... -
Theories of Voice in Twentieth-Century Thought and Performance
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Louisiana State University Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 The sound of meaning: theories of voice in twentieth-century thought and performance Andrew McComb Kimbrough Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Theatre and Performance Studies Commons Recommended Citation Kimbrough, Andrew McComb, "The ounds of meaning: theories of voice in twentieth-century thought and performance" (2002). LSU Doctoral Dissertations. 533. https://digitalcommons.lsu.edu/gradschool_dissertations/533 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SOUND OF MEANING: THEORIES OF VOICE IN TWENTIETH-CENTURY THOUGHT AND PERFORMANCE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Theatre by Andrew McComb Kimbrough B.A., Wake Forest University, 1984 M.F.A., Carnegie Mellon University, 1997 May 2002 © Copyright 2002 Andrew McComb Kimbrough All rights reserved ii To Liu Zhiguang iii TABLE OF CONTENTS ABSTRACT . .v CHAPTER 1 INTRODUCTION. 1 2 THE VOICE IN PALEOANTHROPOLOGY . 31 3 THE PHENOMENOLOGICAL VOICE. 82 4 THE MUTABLE VOICE IN THE LINGUISTIC TURN. -
Darmstadt As Other: British and American Responses to Musical Modernism. Twentieth-Century Music, 1 (2)
Heile, B. (2004) Darmstadt as other: British and American responses to musical modernism. Twentieth-Century Music, 1 (2). pp. 161-178. ISSN 1478-5722 Copyright © 2004 Cambridge University Press A copy can be downloaded for personal non-commercial research or study, without prior permission or charge The content must not be changed in any way or reproduced in any format or medium without the formal permission of the copyright holder(s) When referring to this work, full bibliographic details must be given http://eprints.gla.ac.uk/52652/ Deposited on: 03 April 2013 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk twentieth century music http://journals.cambridge.org/TCM Additional services for twentieth century music: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Darmstadt as Other: British and American Responses to Musical Modernism BJÖRN HEILE twentieth century music / Volume 1 / Issue 02 / September 2004, pp 161 178 DOI: 10.1017/S1478572205000162, Published online: 22 April 2005 Link to this article: http://journals.cambridge.org/abstract_S1478572205000162 How to cite this article: BJÖRN HEILE (2004). Darmstadt as Other: British and American Responses to Musical Modernism. twentieth century music, 1, pp 161178 doi:10.1017/S1478572205000162 Request Permissions : Click here Downloaded from http://journals.cambridge.org/TCM, IP address: 130.209.6.42 on 03 Apr 2013 twentieth-century music 1/2, 161–178 © 2004 Cambridge University Press doi:10.1017/S1478572205000162 Printed in the United Kingdom Darmstadt as Other: British and American Responses to Musical Modernism BJO}RN HEILE Abstract There is currently a backlash against modernism in English-language music studies. -
Negotiating Cultural Allies: American Music in Darmstadt, 1946-1956 Author(S): Amy C
American Musicological Society Negotiating Cultural Allies: American Music in Darmstadt, 1946-1956 Author(s): Amy C. Beal Source: Journal of the American Musicological Society, Vol. 53, No. 1 (Spring, 2000), pp. 105- 139 Published by: University of California Press on behalf of the American Musicological Society Stable URL: http://www.jstor.org/stable/831871 Accessed: 22/11/2010 15:41 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ucal. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press and American Musicological Society are collaborating with JSTOR to digitize, preserve and extend access to Journal of the American Musicological Society. -
Ana Rebrina Relation of Structure, Form and Perception in Post-Tonal
Ana Rebrina Relation of Structure, Form and Perception in Post-Tonal Music Analysis of Compositions by Pierre Boulez, Jean Barraqué, Karel Goeyvaerts and Michel Fano Exposé for a Doctoral Dissertation Department of Historical Musicology, Music Theory and Church Music Studies Kunstuniversität Graz February 2019 Abstract This research explores the relation between the score, performance, and perception of post- tonal music. The focus is on performer’s actions and on perceptual consequences of these actions for the listener. The corpus of the study includes compositions associated with the Darmstadt Summer Course, all composed at a similar time and in comparable circumstances: three piano sonatas by Pierre Boulez, Piano Sonata by Jean Barraqué, Sonata for Two Pianos by Karel Goeyvaerts and Sonata for Two Pianos by Michel Fano. Since the serial organization of material is hardly manifested in sound realization in these complex post-tonal compositions, surface details are important for the perception. One of the objectives of this research is to determine auditory detectable details of musical surface and compare them in different performances. Since post-tonal music is often presented as inaccessible, speaking to only a narrow circle of listeners, the aim is to find possible approaches to comprehensive listening of post-tonal music through the perception of auditory details and their connection with formal sections. In addition, the aim is to discover whether performance analysis can assist music pedagogy in the deeper understanding of post-tonal music. For this purpose, the selected repertoire will be analyzed on several levels: traditional analysis of material organization and serial procedures based on sketches and pre-existing studies, historical background of compositions and recordings, structural analysis and performance analysis based on a comparison of selected parameters in different recordings, morphosyntactic analysis as an attempt to capture the details on the musical surface. -
(Offen-Barkeit) of Différance, but Always from Within the Text
Page 1 of 9 Original Research Beyond categories, proper names, types and norms toward a fragile openness (Offen-barkeit) of différance, but always from within the text Author: This article sought to respond to Wessel Stoker’s interpretation of transcendence, specifically 1 Johann-Albrecht Meylahn his last type: transcendence as alterity. It explored the possibilities of this last type as it moves Affiliation: beyond categories, proper names, types and norms toward a fragile openness of différance, 1Department of Practical always from within the text. This transcendence of alterity paves a way for discussion on what Theology, University of is beyond being or beyond language, either horizontally or vertically, so as to move away from Pretoria, South Africa dogmatic assertiveness toward a more poetic humility. This poetic humility, because of its Correspondence to: openness (Offen-barkeit) and its ‘undogmaticness’, offers a fragile creativeness to our cultural– Johann-Albrecht Meylahn social–environmental encounters and praxis. Such poetics is found in Heidegger’s work, as he interpreted humanity to dwell poetically in the house of being (language), if language speaks Email: as the Geläut der Stille. Yet Heidegger did not move far enough beyond names and proper [email protected] names, as he named and identified the kind of poetry that would be ‘proper’ to respond to the Postal address: Geläut der Stille. Derrida deconstructed Heidegger’s interpretation and exposed Heidegger’s PO Box 14885, Lyttelton disastrous method of capitalising cultural-political names, moving beyond such capitalisation 0140, South Africa of ‘proper’ names toward différance and a messianic expectation without Messiah. In this Dates: artricle, both Heidegger and Derrida’s conceptions were brought into dialogue with the Received: 22 Nov. -
30 Nicolas Hodges
N° 30 Mercredi 5 octobre 2011 à 18h30 Salle de la Bourse Nicolas Hodges, piano Avec le soutien de la Sacem et de Diaphonique, Fonds franco-britannique pour la musique contemporaine Piano, Nicolas Hodges ---- Brice Pauset Sept Canons (2010) / 17 min. Première française Claude Helffer Toujours courir pourquoi ? ..... (1944) / 3 min. Création Jean Barraqué Retour (1947-48) / 6 min. Intermezzo de la Sonate (1949) Création Pièce pour piano (1949) Création Thème et variations (1949) Création Deux morceaux pour piano – N° 1 (1949) Création Deux morceaux pour piano – N° 2 (1949) Création Bill Hopkins Sonatétude (Études en Série III, V, VIII) (1965-72) / 22 min. Première française fin du concert : 19h45 Retrouvez ce concert sur France Musique le lundi 24 octobre à partir de 20h, fréquence 95.0 à Strasbourg / www.francemusique.com À propos du concert Il a été dit du pianiste anglais Nicolas Hodges qu'il joue les classiques comme s'ils avaient été écrits hier, et les musiques écrites hier comme des classiques. Premier des deux concerts en partie consacrés aux partitions redécouvertes de Jean Barraqué. Figure romantique et tragique perdue dans le milieu si rationaliste de la musique contemporaine (selon Marc Texier dans le programme de Musica 1995), Jean Barraqué résumait ainsi son engagement entier : « La musique, c'est le drame, c'est le pathétique, c'est la mort. C'est le jeu complet, le tremblement jusqu'au suicide ». On découvre aujourd'hui des partitions qu'il composa dans sa jeunesse. À vingt ans à peine (il est né en 1928 à Puteaux), Barraqué a déjà beaucoup composé.