DOCSLIB.ORG

“Ach Neige, Du Schmerzenreiche” from Goethe's Faust

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
“Ach Neige, Du Schmerzenreiche” from Goethe's Faust University of Kentucky UKnowledge Theses and Dissertations--Music Music 2015 GRETCHEN’S SOLILOQUY “ACH NEIGE, DU SCHMERZENREICHE” FROM GOETHE’S FAUST: A VOCAL PERFORMANCE ANALYSIS AND SET OF PERFORMANCE GUIDELINES FOR VARIOUS SOLO VOICE SETTINGS Savanna Sokolnicki University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.209 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sokolnicki, Savanna, "GRETCHEN’S SOLILOQUY “ACH NEIGE, DU SCHMERZENREICHE” FROM GOETHE’S FAUST: A VOCAL PERFORMANCE ANALYSIS AND SET OF PERFORMANCE GUIDELINES FOR VARIOUS SOLO VOICE SETTINGS" (2015). Theses and Dissertations--Music. 60. https://uknowledge.uky.edu/music_etds/60 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Savanna Sokolnicki, Student Cynthia Lawrence, Major Professor Dr. David Sogin, Director of Graduate Studies GRETCHEN’S SOLILOQUY “ACH NEIGE, DU SCHMERZENREICHE” FROM GOETHE’S FAUST: A VOCAL PERFORMANCE ANALYSIS AND SET OF PERFORMANCE GUIDELINES FOR VARIOUS SOLO VOICE SETTINGS DMA MONOGRAPH A monograph submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Savanna Sokolnicki Lexington, Kentucky Director: Cynthia Lawrence, Professor of Voice Lexington, KY 2016 Copyright Savanna Sokolnicki 2016 ABSTRACT OF DMA MONOGRAPH GRETCHEN’S SOLILOQUY “ACH NEIGE, DU SCHMERZENREICHE” FROM GOETHE’S FAUST: A VOCAL PERFORMANCE ANALYSIS AND SET OF PERFORMANCE GUIDELINES FOR VARIOUS SOLO VOICE SETTINGS The great novelist and poet Johann Wolfgang von Goethe (1749 – 1832) arguably made his most significant contribution to the artistic world with his literary masterpiece Faust I. Goethe’s love of music and melody is evident throughout all of Faust, particularly in the expressive poetry of the character of Gretchen, whose meaningful words gave inspiration to a variety of musical manifestations, especially in German Lied. This document serves as a performance guide for vocalists. It provides vital information on the setting and arrangement of the poetry within the musical settings, the background and significance of the composer and his works, and the organization of the music. The examination of each piece will involve assessment of musical phrasing, tessitura, and overall vocal complexity in eight German Lieder settings of Gretchen’s soliloquy “Ach neige, du Schmerzenreiche” from Goethe’s Faust. The suggestions within the investigations are based on examination of pedagogical practices as well as personal experience and discoveries made while singing and performing these pieces. Through an investigation of each piece, the singer will be able to attain a successful understanding of the framework and approach to the music and poetry, and thereby achieve awareness of accurate performance practice. This document examines in order of composition, the settings by Bettina von Arnim, Franz Schubert (including the completed fragment as arranged by Benjamin Britten), Conrad Kreutzer, Bernhard Klein, Johann Loewe, Robert Schumann, Hugo Wolf, and Fredric Joseph Kroll. Because this document serves to investigate only German Lieder settings, it will not examine the choral works of Hans Pfitzner, Antoni Radziwill, Julius Röntgen, Giuseppe Verdi’s Italian setting “Deh, pietoso, oh Addolorata,” nor Richard Wagner’s Melodram. This document will also very briefly discuss the lost and inaccessible settings of Gretchen’s prayer, including those of Carl Debrois van Bruyck, Edmund von Freyhold, Moritz Hauptmann, Justus Lecerf, Leopold Lenz, Louis Schlottmann, and Hans Sommer. KEYWORDS: Gretchen, “Ach Neige du Schmerzenreiche,” Performance Practice, Goethe Repertoire, Faust Repertoire GRETCHEN’S SOLILOQUY “ACH NEIGE, DU SCHMERZENREICHE” FROM GOETHE’S FAUST: A VOCAL PERFORMANCE ANALYSIS AND SET OF PERFORMANCE GUIDELINES FOR VARIOUS SOLO VOICE SETTINGS By Savanna Sokolnicki ___________________________ Cynthia Lawrence, Director of Dissertation ___________________________ Dr. David Sogin, Director of Graduate Studies _____02/05/2016____________ To my parents, Jerry and Renata Sokolnicki ACKNOWLEDGEMENTS Psalm 69:30 I will praise God's name in song and glorify him with thanksgiving. I would like to express my very great appreciation to the many people who granted me their support and guidance throughout my doctoral degree. My Doctoral Committee Chair, Professor Cynthia Lawrence, imparted endless encouragement and incredibly beneficial feedback. I am indebted to her for her extraordinary artistic guidance not only in the completion of this document, but also in my recitals, operatic roles, auditions and musical growth. Dr. Karen Bottge provided very helpful criticism and guidance, especially on structure and musical analysis in the document. Dr. Dennis Bender offered valuable insight on performance practice and Dr. Jeanine Blackwell presented important awareness into the history of Goethe and the story of Gretchen. Dr. Alice Christ contributed valuable encouragement and artistic insight and Dr. David Sogin imparted assistance and direction through any possible obstacle. I am extremely grateful to my entire Doctoral Committee for their patience and direction. Each of them helped guide and challenge me, and it is because of their supervision that this document was substantially improved. I am eternally grateful to the incredible vocal coaches, pianists, and fellow musicians that made each recital and performance possible. My great appreciation goes out to Professor Cliff Jackson, whose musicality and endless wealth of knowledge made rehearsals educational, productive, and incredibly enjoyable. I am also incredibly thankful for Professor John Greer, who’s challenging music and insightful leadership helped me master new operatic roles and discover a deep love for poetry and music from my homeland. To Rebecca Wilt, who challenged me from the very beginning of my doctoral adventure and inspired me to do my best always, I am indebted. I would also like to express gratitude to the incredibly talented musicians who joined me on stage for my recitals, Maris Deddens, Jerram John, Jared Wallis, Wanessa Campelo, Kathryn Caton, Jonathan Parham, and Thomas Gunther, thank you all for making wonderful music with me. A special thank you to the incredible composer Dr. Fredric Kroll for his willingness to speak to me about his wonderful music and for allowing me to present it here in this document. My deep gratitude also extends to my entire family, in-laws, and great friends without whose support I would have easily gotten lost in the stress of this process. I’m eternally grateful to Kathryn Caton, for understanding me best and knowing just what to say, or what not to say, and to Ellen Graham, Jondra Harmon, and Melissa Snow-Groves, for helping me maintain my composure through this entire process. I thank my new family, my in-laws, for always welcoming me with warm smiles and loving hearts. To my loving, remarkable, husband Christopher Lutz, there are not enough words to describe how patient, caring, helpful, and supportive a partner I have been blessed with. Thank you my love for making every day, and every note, worth it. I love you. Thank you to my little brother Conrad Peter Sokolnicki, whose wit, brilliance and fantastic sense of humor inspires me every day. Above all, limitless appreciation and love is dedicated to my parents, Jerry and Renata Sokolnicki. I thank you with my whole heart for letting me sing, scream, cry, and laugh, but most importantly, for nourishing a deep love of music and an endless thirst for knowledge. I love you. This is for you. iii TABLE OF CONTENTS PART I` ACKNOWLEDGEMENTS ....................................................................................
Load more

Recommended publications
  • THE POETIC MUSE: GOETHE, SCHUBERT and the ART of SONG Lorraine Byrne Bodley Anyone Who Ventures Into the Vast Regions of The
    THE POETIC MUSE: GOETHE, SCHUBERT AND THE ART OF SONG Lorraine Byrne Bodley Anyone who ventures into the vast regions of the 19th-century Lied meets a powerful presence almost immediately. Time and again the text is by Goethe, whose lyric imagination left an indomitable imprint on European music history. Even a cursory glance at Friedlaender’s Das deutsche Lied bears testimony to multiple settings of Goethe’s poems and the range and variety of this abundant repertoire is immediately striking. Ernst Challier’s Grosser Lieder-Katalog gives further evidence of the musicality of Goethe’s language and its location of meaning at the cradle of the Lied. Schubert’s first masterpiece, ‘Gretchen am Spinnrade’, was a setting of a dramatic scene from Goethe’s Faust. The earliest songs of Reichardt, Spohr, Loewe, Brahms and Wagner were to texts by Goethe, which raises the question as to the reasons for the poet’s influence. Yes, Goethe was a supreme lyric poet. The binding force of form and meaning, or rhythm and sense, that characterizes Goethe’s lyric poetry offered composers a wealth of material with which to cut their compositional cloth. Yes, Goethe was an object of admiration, even veneration, throughout the 19th century and the sheer quantity and variety of music his poetry has inspired signals the huge fascination exerted by his writing and his personality. Yet the steadfastness of his occupancy of the Lied goes beyond these explanations. Deeper currents must explain why Goethe’s poetry goes hand in glove in our musical heritage. From the time he burst onto the literary scene with the publication of Die Leiden des jungen Werther in 1774 until long after his death in 1832, Goethe was a catalyst for many composers who wanted to challenge what song could be.
    [Show full text]
  • A QUIET EVENING of DANCE by WILLIAM FORSYTHE Pääyhteistyökumppanit / Partners / Partners Sponsorit / Sponsors / Sponsorer Thu–Fri 22.–23.8
    ©Bill Cooper #juhlaviikot #helsinkifestival The visit is produced in collaboration with Jane and Aatos Erkko Foundation and Dance House Helsinki. A Sadler´s Wells London Production JANE and AATOS ERKKO FOUNDATION A QUIET EVENING OF DANCE BY WILLIAM FORSYTHE Pääyhteistyökumppanit / Partners / Partners Sponsorit / Sponsors / Sponsorer Thu–Fri 22.–23.8. Finnish National Opera and ballet, Almi Hall PRODUCTION CREDITS Dancers: Brigel Gjoka, Jill Johnson, Christopher Roman (understudied by Brit Rodemund in Helsinki), Parvaneh Scharafali, Riley Watts, Rauf “RubberLegz“ Yasit, Ander Zabala Composer/Music: Morton Feldman, Nature Pieces from Piano No.1. From, First Recordings (1950s) – The Turfan Ensemble, Philipp Vandré © Mode (for Epilogue) A Sadler’s Wells London Production Composer/Music: Jean‐Philippe Rameau, Hippolyte et Aricie: Ritournelle, from A Quiet Evening of Dance Une Symphonie Imaginaire, Marc Minkowski & Les Musiciens du Louvre © 2005 By William Forsythe Deutsche Grammophon GmbH, Berlin (for Seventeen/Twenty One) and Lighting Design: Tanja Rühl and William Forsythe Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf “RubberLegz” Yasit and Ander Zabala. Costume Design: Dorothee Merg and William Forsythe Co-produced with Théâtre de la Ville, Paris; Théâtre du Châtelet, Paris; Festival d’Automne Sound Design: Niels Lanz à Paris; Festival Montpellier Danse 2019; Les Théâtres de la Ville de Luxembourg; The Shed, New York; Onassis Cultural Centre, Athens; deSingel international arts campus, Antwerp. For Sadler’s Wells Artistic Director & Chief Executive: Alistair Spalding CBE First performed at Sadler’s Wells London on 4 October 2018. Executive Producer: Suzanne Walker Head of Producing & Touring: Bia Oliveira Winner of the FEDORA - VAN CLEEF & ARPELS Prize for Ballet 2018.
    [Show full text]
  • Timeline / Before 1800 to 1840 / GERMANY
    Timeline / Before 1800 to 1840 / GERMANY Date Country Theme 1700 - 1750s Germany Fine And Applied Arts "Palace Schwetzingen" is bulit and flourised under the Palatine Prince Elector Carl Theodor. The baroque castle complex includes more than 100 sculptures and a "Türkischer Garten" ("Turkish Garden") with a mosque, biult from 1779 to 1791, that makes it the earliest mosque- style in Germany and the largest structure of its kind in a german garden. It was designed by Nicolas de Pigage. However the oriental details are not for religious but for decorative purposes. 1700 - 1750s Germany Cities And Urban Spaces The newly built Palace of Schwetzingen (built on the site of a former palace that actually dates back to 1350) flourishes under the Palatine Prince Elector Karl Theodor. Today a heritage site of great cultural significance, it contains some 100 sculptures and is known for its Türkischer Garten, a garden in the Turkish style with a mosque (constructed 1779–91 and the earliest mosque-style and largest structure of its kind in any German garden), designed by French architect Nicolas de Pigage and with “Oriental” details that are for decorative purposes only. During the 18th and 19th Germany Travelling centuries Travellers from Europe approached the notion of the Near East with dreams of a “holy world” and “treasuries of wisdom”. The European desire for the “Orient” arose partly as a result of the Enlightenment, which since the 1800s had already changed the public psyche, filtering down from the rationalism of intellectuals to the scientification of the public. In addition, the many wars of the period, especially the Napoleonic Wars, produced in the people nostalgia; a desire for distance, the unknown, and the halcyon days of the past.
    [Show full text]
  • Halle, the City of Music a Journey Through the History of Music
    HALLE, THE CITY OF MUSIC A JOURNEY THROUGH THE HISTORY OF MUSIC 8 WC 9 Wardrobe Ticket office Tour 1 2 7 6 5 4 3 EXHIBITION IN WILHELM FRIEDEMANN BACH HOUSE Wilhelm Friedemann Bach House at Grosse Klausstrasse 12 is one of the most important Renaissance houses in the city of Halle and was formerly the place of residence of Johann Sebastian Bach’s eldest son. An extension built in 1835 houses on its first floor an exhibition which is well worth a visit: “Halle, the City of Music”. 1 Halle, the City of Music 5 Johann Friedrich Reichardt and Carl Loewe Halle has a rich musical history, traces of which are still Johann Friedrich Reichardt (1752–1814) is known as a partially visible today. Minnesingers and wandering musicographer, composer and the publisher of numerous musicians visited Giebichenstein Castle back in the lieder. He moved to Giebichenstein near Halle in 1794. Middle Ages. The Moritzburg and later the Neue On his estate, which was viewed as the centre of Residenz court under Cardinal Albrecht von Brandenburg Romanticism, he received numerous famous figures reached its heyday during the Renaissance. The city’s including Ludwig Tieck, Clemens Brentano, Novalis, three ancient churches – Marktkirche, St. Ulrich and St. Joseph von Eichendorff and Johann Wolfgang von Moritz – have always played an important role in Goethe. He organised musical performances at his home musical culture. Germany’s oldest boys’ choir, the in which his musically gifted daughters and the young Stadtsingechor, sang here. With the founding of Halle Carl Loewe took part. University in 1694, the middle classes began to develop Carl Loewe (1796–1869), born in Löbejün, spent his and with them, a middle-class musical culture.
    [Show full text]
  • Inhaltsübersicht
    Johann Wolfgang Goethe • Faust Inhaltsübersicht Prolog im Himmel 1 – Die Wette Seite 10 Gott (Der Herr) und der Teufel (der in diesem Stück „Mephisto- pheles“ heißt) treffen sich im Himmel. Der Teufel findet die Welt schlecht. Gott stimmt nicht zu und nennt als Beispiel den Doktor Faust, der im Grunde ein guter Mensch sei. Der Teufel wettet, dass er den Doktor Faust zum Bösen verführen wird. Gott nimmt die Wette an. Nacht 2 – Faust beschwört den Erdgeist Seite 14 Faust denkt über den Sinn seines Lebens nach. Er hat zwar alles studiert, was möglich ist. Er ist sogar Doktor. Aber das, was die Welt im Innersten zusammenhält, hat er nicht heraus bekommen. Könnte ihm die Magie (Zauberei) helfen? – Tatsächlich gelingt es ihm, den Erdgeist zu beschwören. Doch Faust kann die schreckliche Erscheinung des Erdgeistes nicht ertragen. 2 Inhaltsübersicht 3 – Faust denkt an Selbstmord Seite 19 Faust ist tief enttäuscht, weil er den Erdgeist nicht halten konnte. Was für einen Sinn hat sein Leben noch? Er nimmt Gift aus dem Regal und will Selbstmord begehen. – Aber Glockenklang und Chorgesang kündigen das Osterfest an und halten ihn von seinem Vorhaben ab. Vor dem Tor 4 – Der Osterspaziergang Seite 22 Es ist ein schöner Ostermorgen. Vor den Stadttoren spa zieren die glücklichen Menschen, Bauern, Hand- werksburschen, Dienstmädchen, Schüler, Bürger, Bettler und Soldaten. Schließlich treten auch Faust und sein Gehilfe Wagner auf. Faust freut sich an dem bunten Treiben. Zum Schluss kommt ein schwarzer Pudel zu ihnen. Studierzimmer 5 – Des Pudels Kern Seite 28 Faust nimmt den Pudel mit nach Hause und möchte seine gelehrten Studien fortsetzen.
    [Show full text]
  • Programa Del Otoño Musical Soriano 2016
    PRESIDENCIA DE HONOR S.A.R LA INFANTA Dª MARGARITA DE BORBÓN Y EL EXCMO. SR. D. CARLOS ZURITA. DUQUES DE SORIA Director Festival: Jose Manuel Aceña Notas al programa: Sonia Gonzalo Delgado Diseño y maquetación: Estudioayllón Impresión: Imprenta Provincial de Soria Organiza: Plaza Mayor s/n. 42071· SORIA Tel: 975 23 41 14 / 975 23 28 69 [email protected] www.soria.es/festivalmusical Dep. Leg: SO - 55/2016 Saluda del Alcalde Estimados amigos, estimadas amigas, Gracias por compartir un año más esta cita con la música y la cultura en nuestra Ciudad que es el Otoño Musical Soriano. Como podrán com- probar en este programa de mano, la vigesimocuarta edición de nuestro Festival refleja su carácter accesible, atractivo, completo y ambicioso que reedita la conexión mágica con ustedes, el público, verdadero artífice de que el Otoño Musical Soriano se supere año a año, convirtiéndose en uno de los principales festivales musicales a nivel europeo. Así lo atestigua el galardón “EFFE Label”, recibido el pasado año desde la Asociación Eu- ropea de Festivales como marca de calidad del Otoño Musical Soriano. A punto de celebrar 25 años de historia desde que el trabajo y el cariño del Maestro Odón Alonso hacia Soria alumbrara esta cita por primera vez, las máximas de compromiso con el talento artístico y la excelen- cia internacional están presentes desde la inauguración a la clausura gracias a la labor de su Director, el Maestro José Manuel Aceña, quien ha sabido comprender y transmitir el legado del Maestro Alonso. Sirvan estas líneas para reconocer una vez más su trabajo al frente del Festival.
    [Show full text]
  • Organizing Knowledge: Comparative Structures of Intersubjectivity in Nineteenth-Century Historical Dictionaries
    Organizing Knowledge: Comparative Structures of Intersubjectivity in Nineteenth-Century Historical Dictionaries Kelly M. Kistner A dissertation submitted in partial fulfillment for the requirements for the degree of Doctor of Philosophy University of Washington 2014 Reading Committee: Gary G. Hamilton, Chair Steven Pfaff Katherine Stovel Program Authorized to Offer Degree: Sociology ©Copyright 2014 Kelly M. Kistner University of Washington Abstract Organizing Knowledge: Comparative Structures of Intersubjectivity in Nineteenth-Century Historical Dictionaries Kelly Kistner Chair of the Supervisory Committee: Professor Gary G. Hamilton Sociology Between 1838 and 1857 language scholars throughout Europe were inspired to create a new kind of dictionary. Deemed historical dictionaries, their projects took an unprecedented leap in style and scale from earlier forms of lexicography. These lexicographers each sought to compile historical inventories of their national languages and were inspired by the new scientific approach of comparative philology. For them, this science promised a means to illuminate general processes of social change and variation, as well as the linguistic foundations for cultural and national unity. This study examines two such projects: The German Dictionary, Deutsches Worterbuch, of the Grimm Brothers, and what became the Oxford English Dictionary. Both works utilized collaborative models of large-scale, long-term production, yet the content of the dictionaries would differ in remarkable ways. The German dictionary would be characterized by its lack of definitions of meaning, its eclectic treatment of entries, rich analytical prose, and self- referential discourse; whereas the English dictionary would feature succinct, standardized, and impersonal entries. Using primary source materials, this research investigates why the dictionaries came to differ.
    [Show full text]
  • Gretchen's Shade by Nicole Martinelli, English
    Commentary on “Gretchen’s Shade By Nicole Martinelli, English 275 Contracts with the devil ignorantly made, true meeting with a very forward Faust in the street, to their reunion at her neighbor’s house, this love found and lost, an innocent young girl story endeavors to turn the virginal love interest corrupted by the promises of an older man – into her own protagonist. The reader can take these tropes are neither new nor uncommon but several detours to get there, but all roads they do all culminate in Johann Wolfgang Von eventually lead back to that shade, Faust, that Goethe’s Faust. The German play surrounding she can never quite shake. Underneath the bargains made with devils give rise to dozens of deceit, of course, Faust does love Gretchen – but popular derivations from Queen’s “Bohemian never so honestly as Gretchen loves him while Rhapsody” to films like The Shining and the young girl is lusted after and preyed upon by Bedazzled and even anime like Death Note. The the older man. It’s an unfortunately common piece inspires Faustian deals to be made in all tale that is told, and lived, sorts of media and time and time again. throughout popular cul- From Lolita to Twilight, ture. the story hardly ever At its core, Faust depicts its women making may be about a man healthy decisions. seeking to live to his Here, as the read- fullest capacity and dis- er, we are offered several cover the secrets of life, decisions that differ from but we also see who the original incarnation.
    [Show full text]
  • Industrialism, Androids, and the Virtuoso Instrumentalist
    UNIVERSITY OF CALIFORNIA Los Angeles Performing the Mechanical: Industrialism, Androids, and the Virtuoso Instrumentalist A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts by Leila Mintaha Nassar-Fredell 2013 © Copyright by Leila Mintaha Nassar-Fredell 2013 ABSTRACT OF THE DISSERTATION Performing the Mechanical: Industrialism, Androids, and the Virtuoso Instrumentalist by Leila Nassar-Fredell Doctor of Musical Arts University of California, Los Angeles, 2013 Professor Robert S. Winter, Chair Transactions between musical androids and actual virtuosos occupied a prominent place in the music of the eighteenth and nineteenth centuries. Instrumentalists and composers of instrumental music appropriated the craze for clockwork soloists, placing music in a position of increased social power in a society undergoing rapid technological transformation. The history of musical automata stretches back to antiquity. Androids and automata, vested by audiences with spiritual and magical qualities, populated the churches of the broader populations and the Renaissance grottos of the aristocracy. As ii the Industrial Revolution began, automata increasingly resembled the machines changing the structure of labor; consequently, androids lost their enchanted status. Contemporary writers problematized these humanoid machines while at the same time popularizing their role as representatives of the uncanny at the boundaries of human identity. Both instrumental performers and androids explored the liminal area between human and machine. As androids lost their magic, musical virtuosos assumed the qualities of spectacle and spirituality long embodied by their machine counterparts. In this process virtuosi explored the liminal space of human machines: a human playing a musical instrument (a machine) weds the body to a machine, creating a half-human, half-fabricated voice.
    [Show full text]
  • Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
    (De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification.
    [Show full text]
  • GERMAN LITERARY FAIRY TALES, 1795-1848 by CLAUDIA MAREIKE
    ROMANTICISM, ORIENTALISM, AND NATIONAL IDENTITY: GERMAN LITERARY FAIRY TALES, 1795-1848 By CLAUDIA MAREIKE KATRIN SCHWABE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2012 1 © 2012 Claudia Mareike Katrin Schwabe 2 To my beloved parents Dr. Roman and Cornelia Schwabe 3 ACKNOWLEDGMENTS First and foremost, I would like to thank my supervisory committee chair, Dr. Barbara Mennel, who supported this project with great encouragement, enthusiasm, guidance, solidarity, and outstanding academic scholarship. I am particularly grateful for her dedication and tireless efforts in editing my chapters during the various phases of this dissertation. I could not have asked for a better, more genuine mentor. I also want to express my gratitude to the other committee members, Dr. Will Hasty, Dr. Franz Futterknecht, and Dr. John Cech, for their thoughtful comments and suggestions, invaluable feedback, and for offering me new perspectives. Furthermore, I would like to acknowledge the abundant support and inspiration of my friends and colleagues Anna Rutz, Tim Fangmeyer, and Dr. Keith Bullivant. My heartfelt gratitude goes to my family, particularly my parents, Dr. Roman and Cornelia Schwabe, as well as to my brother Marius and his wife Marina Schwabe. Many thanks also to my dear friends for all their love and their emotional support throughout the years: Silke Noll, Alice Mantey, Lea Hüllen, and Tina Dolge. In addition, Paul and Deborah Watford deserve special mentioning who so graciously and welcomingly invited me into their home and family. Final thanks go to Stephen Geist and his parents who believed in me from the very start.
    [Show full text]
  • In Goethe's Faust, Unlike the Earlier Versions of the Story, the Faithless
    1 In G​ oethe’s Faust,​ unlike the earlier versions of the story, the faithless sinner that is Faust receives grace and goes to Heaven, rather than being thrown to the fires of Hell. Faust’s redemption is contrary to every other redemption in every other story we have read up till now. Faust wasn’t asking forgiveness from God, unlike his beloved Margaret, and so many others before him. Faust doesn’t seem even to believe in the all mighty, even when directly talking to the Devil himself. Yet, in the end, Mephisto’s plot is foiled, Faust’s soul is not cast into the inferno, but raised to paradise. Goethe has Faust receive a secular salvation, through Faust’s actions rather than through his belief. Goethe shows both the importance of action versus words, and Faust’s familiarity with the Bible, with Faust’s translation of Logos, “It says: ‘In the beginning was the W​ ord… I​ write: In the beginning was the A​ct.” (​G​ oethe's Faust,​ line 1224, 1237) Here, Faust demonstrates a clear understanding of a theological problem, the importance of a single word within the Bible. Having Logos translated as “the Word” has many more different implications than if it means “the Act”. The Act would imply the creation of everything was a direct application of Gods will. He did not need to say for something happen, God did something to put the universe in motion by action alone. Goethe includes this translation of Logos, as the Act instead of the Word, for several reasons.
    [Show full text]