Tempo最新文献 - Book学术

IF 0.7 4区艺术学

Tempo Pub Date : 2024-08-28 DOI: 10.1017/s0040298224000093

Christopher Fox

引用次数: 0

‘I AM A TEXTURAL COMPOSER’: JANE STANLEY ON THE CREATIVE PROCESS, IMMERSIVE TEXTURES, GLOW AND A NEW SONG CYCLE 我是一位质感作曲家简-斯坦利谈创作过程、身临其境的质感、光芒和新的歌曲循环

IF 0.7 4区艺术学

Tempo Pub Date : 2024-08-28 DOI: 10.1017/s0040298224000020

Jane Stanley, Judith Bishop

引用次数: 0

TRANSFORMING PRACTICE WITH DIGITAL SCORES: DEVELOPMENTS AND CHALLENGES IN A TRANSCONTINENTAL RESIDENCY 用数字乐谱改变实践：跨洲实习的发展与挑战

IF 0.7 4区艺术学

Tempo Pub Date : 2024-08-28 DOI: 10.1017/s0040298224000044

Jaslyn Robertson, Solomiya Moroz, Cat Hope, Craig Vear, Iran Sanadzadeh, Helen Svoboda, Chloë Sobek

{"title":"TRANSFORMING PRACTICE WITH DIGITAL SCORES: DEVELOPMENTS AND CHALLENGES IN A TRANSCONTINENTAL RESIDENCY","authors":"Jaslyn Robertson, Solomiya Moroz, Cat Hope, Craig Vear, Iran Sanadzadeh, Helen Svoboda, Chloë Sobek","doi":"10.1017/s0040298224000044","DOIUrl":"https://doi.org/10.1017/s0040298224000044","url":null,"abstract":"This article examines how practice-based researchers in a transcontinental intensive residency transformed their practice and developed their skills through composing digital scores. Four researchers from an Australian university undertook an intensive residency in Hamburg, focused on creating and performing new digital scores. An analytical study of this residency was conducted, centred around each researcher's connection to the materials, experiences of flow, changes in digital musicianship and transformations. The study revealed both challenges and illuminating experiences for the researchers. Each composition went through significant changes during, before and after the transcontinental project, resulting in changes to the digital scores, directions for interpretation and the researchers’ established artistic practices. Exposure to new environments and facilities allowed them to develop fresh approaches to collaboration and technology. Engaging with digital scores led to new skills being developed and new collaborative projects with each other and international musicians. The intensive and transcontinental nature of the project resulted in significant developments to the skills and approaches of the four researchers.","PeriodicalId":22355,"journal":{"name":"Tempo","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2024-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142198809","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

GETTING OUT OF THE LABYRINTH: GERALD BARRY'S WIENER BLUT AND THE PATH TO PETRA VON KANT 走出迷宫：杰拉尔德-巴里的香肠和通往佩特拉-冯-康德之路

IF 0.7 4区艺术学

Tempo Pub Date : 2024-08-28 DOI: 10.1017/s0040298224000056

Mark Fitzgerald

{"title":"GETTING OUT OF THE LABYRINTH: GERALD BARRY'S WIENER BLUT AND THE PATH TO PETRA VON KANT","authors":"Mark Fitzgerald","doi":"10.1017/s0040298224000056","DOIUrl":"https://doi.org/10.1017/s0040298224000056","url":null,"abstract":"Gerald Barry's approach to composition has undergone a number of changes. Frequently these developments coincide with the composition of a large-scale opera. One of these points of transition in his output occurs in the period before he commenced work on The Bitter Tears of Petra von Kant. Between 1999 and 2000 Barry composed three works – 1998, The Eternal Recurrence and Wiener Blut – in which he attempted to find a new compositional direction after a period in which canonic proliferation dominated his musical material. This article examines some of the main traits of these works, and Wiener Blut in particular, since it contains a greater variety of approaches than the other two compositions. The article also considers how Barry's shift in approach may have been linked to his decision to set Rainer Werner Fassbinder's play. Its quite plain, realistic prose was a contrast to the sort of text Barry had previously chosen to set, requiring a different musical response, and the article draws out some possible connections between Barry's three ‘pointillistic’ compositions and the opera.","PeriodicalId":22355,"journal":{"name":"Tempo","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2024-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142227679","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

PROPORTION AND SYMMETRY AS MUTUAL ANTAGONISTS IN TUNING: SOME QUARTER-TONE RESOURCES 比例与对称在调音中的相互对立：一些四分音资源

IF 0.7 4区艺术学

Tempo Pub Date : 2024-08-28 DOI: 10.1017/s004029822400007x

Joe Bates

引用次数: 0

HABITUS, RESISTANCE AND THE PRODUCTION OF MUSICAL MEANING 习惯、抵制和音乐意义的产生

IF 0.7 4区艺术学

Tempo Pub Date : 2024-08-28 DOI: 10.1017/s0040298224000081

Niamh Dell

引用次数: 0

MOVEMENTS OF A MUSICIAN WORKING: PHILL NIBLOCK (1933–2024) 音乐家的工作动态：菲尔-尼布洛克（1933-2024 年）

IF 0.7 4区艺术学

Tempo Pub Date : 2024-08-28 DOI: 10.1017/s0040298224000068

Harald Muenz, Anton Lukoszevieze, Eleanor Cully Boehringer, Walter Zimmermann, Phil Maguire

引用次数: 0

THINKING ALOUD: THE SOLILOQUY CYCLE 大声思考：独白循环

IF 0.7 4区艺术学

Tempo Pub Date : 2024-08-28 DOI: 10.1017/s0040298224000032

Thomas Simaku

引用次数: 0

SEATON SNOOK AND THE BUILDING OF A PARAFICTIONAL SEASIDE TOWN 西顿-斯努克与虚构海滨小镇的建造

IF 0.7 4区艺术学

Tempo Pub Date : 2024-04-01 DOI: 10.1017/s0040298223000955

Peter Falconer

引用次数: 0

REHEARSING TIME 排练时间

IF 0.7 4区艺术学

Tempo Pub Date : 2024-04-01 DOI: 10.1017/s0040298223000979

Lea Luka Sikau

{"title":"REHEARSING TIME","authors":"Lea Luka Sikau","doi":"10.1017/s0040298223000979","DOIUrl":"https://doi.org/10.1017/s0040298223000979","url":null,"abstract":"<p>This article explores the times and datedness of new opera. When referring to an opera (20**) the bracketed number that follows the composition title usually refers to the date of composition or the first performance. When asked how many times an opera was played, its interpreters tend to refer to the number of performances, not the number of instances of rehearsal and individual practice. These times often remain unmentioned by performers, composers, production teams and institutions. But what do we make invisible when we exclude the main act of collective labour in the production of a new staged work? How do new operas structure their times and, in turn, how do these various times restructure new opera? I call for an inclusion of the rehearsal in the temporal narratives that new opera tells through its dates and times, emerging from collaborative processes in compound temporalities. With ethnographic glimpses into different operatic rehearsal studios, I examine the process that takes up most of new opera's time – rehearsal time – rather than audiences’ or performers’ lived experiences during the performance. This article maps the times inside rehearsal time – from daily schedules, call times and deep times of props to computational time and the timing of time itself – for better understanding new opera's ontology.</p>","PeriodicalId":22355,"journal":{"name":"Tempo","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140590358","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0