Canadian University Music Review最新文献_第3页

The Well-Furnished Film: Satie's Score for Entr'acte 布置精良的电影:萨蒂的开场配乐

Canadian University Music Review Pub Date : 1900-01-01 DOI: 10.7202/1013906AR

M. Marks

{"title":"The Well-Furnished Film: Satie's Score for Entr'acte","authors":"M. Marks","doi":"10.7202/1013906AR","DOIUrl":"https://doi.org/10.7202/1013906AR","url":null,"abstract":"Throughout their history, motion pictures have been accompanied by music, and the combination has affected us in a variety of ways both simple and subtle. Like the film medium itself, moreover, film music has undergone such rapid development that today it ranks among the most widely dispersed and influential genres of dramatic music. For all its influence and importance, however, film music has fared rather poorly as a subject of scholarly inquiry. In part this neglect is due to film music's unusual position: it inhabits a special domain, removed from the older and more traditional forms of music-making. Its world is that of the motion picture theater, rather than the concert hall or the written score. Thus the study of the history and theory of film music depends upon the study of film itself; and careful analysis of a motion picture score requires that the music be examined side by side with the film for which it was composed. Such analyses are very much needed for the advancement of our understanding of film music, and a fascinating example with which to begin is Erik Satie's score for Entr'acte. This is the first complete original score we have by a leading avantgarde composer; and although it is Satie's only film score, composed for a picture lasting a scant twenty minutes, it has been highly praised and even termed a model of film music (see Gallez 1976). But if it is a model, it is a thoroughly puzzling one, rich in paradoxical effects and novel solutions to the problems of film music. The film's unconventional nature forced Satie (or rather, reinforced his customary desire) to compose unconventional music. His score called into question the prevailing film music aesthetic of its time, on behalf of an avant-garde seeking new forms and meanings in the artful combination of music and image. As its title indicates, Entr'acte was an \"intermission piece.\" Directed by Rene Clair, the film was originally presented between the two acts of the ballet Relâche, as premiered at the Champs-Elysees Theater in Paris on 4 December 1924. Satie composed the ballet's music, Francis Picabia created its scenario and design, Jean Borlin its choreography. These men were all conspicuous figures in the world of Parisian avant-garde art. Satie was widely known for his unconventional theater pieces (beginning with Parade in 1917), as well as for his humorous bits of prose and his role as mentor to \"progressive\" young composers like the \"Six.\" Picabia was frenetically active as a painter, poet, publisher, and prince of Dada. And Borlin danced for the Ballets Suedois - a company which (under the stewardship of Rolf de Mare) had become notorious for its premieres full of provocation and scandal.1 Relâche, it was hoped, would be no exception. Satie had sent word to Picabia that the ballet might spark \"a true revolution . . . a new DADA.\"2 To his young friend Milhaud he wrote playfully of the impending \"tornado.\" 3 Audience excitement was heightened by means of a lengthy","PeriodicalId":224798,"journal":{"name":"Canadian University Music Review","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125595814","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 4

Élisabeth Gallat-Morin. Un manuscrit de musique française classique : étude critique et historique. Le Livre d’orgue de Montréal. Paris : Éditions Aux Amateurs de Livres, et Montreal: Presses de l’Universite de Montreal, 1988, 459 p. 伊丽莎白Gallat-Morin。法国古典音乐手稿:批判与历史研究。蒙特利尔风琴书。巴黎:editions Aux Amateurs de Livres, et Montreal: Presses de l ' universite de Montreal, 1988, 459页。

Canadian University Music Review Pub Date : 1900-01-01 DOI: 10.7202/1014910AR

Marie-Thérèse Lefebvre

引用次数: 0

Pour un printemps nouveau du Sacre 为了神圣的新春天

Canadian University Music Review Pub Date : 1900-01-01 DOI: 10.7202/1013743AR

Louise Cyr

引用次数: 0

God, Desire, and Musical Narrative in the Isorhythmic Motet 《等节奏圣歌》中的上帝、欲望与音乐叙事

Canadian University Music Review Pub Date : 1900-01-01 DOI: 10.7202/1014818AR

Susan Fast

引用次数: 0

Ernest MacMillan and England 欧内斯特·麦克米伦和英格兰

Canadian University Music Review Pub Date : 1900-01-01 DOI: 10.7202/1014604AR

J. Beckwith

引用次数: 0

Essai de Typologie des Marches d’Harmonie dans la Musique Tonale de Bach à Wagner 从巴赫到瓦格纳的调性音乐中和声进行曲的类型学

Canadian University Music Review Pub Date : 1900-01-01 DOI: 10.7202/1014923AR

Luce Beaudet

引用次数: 1

Robert Donington. Opera and Its Symbols: The Unity of Words, Music and Staging. New Haven: Yale University Press, 1990. viii, 248 pp. ISBN 0-300-04713-4 多宁顿罗伯特。歌剧及其符号:文字、音乐和舞台的统一。纽黑文:耶鲁大学出版社，1990。8, 248页。ISBN 0-300-04713-4

Canadian University Music Review Pub Date : 1900-01-01 DOI: 10.7202/1014839AR

M. Woodside

{"title":"Robert Donington. Opera and Its Symbols: The Unity of Words, Music and Staging. New Haven: Yale University Press, 1990. viii, 248 pp. ISBN 0-300-04713-4","authors":"M. Woodside","doi":"10.7202/1014839AR","DOIUrl":"https://doi.org/10.7202/1014839AR","url":null,"abstract":"ROBERT DONINGTON, Opera and Its Symbols: The Unity of Words, Music and Staging. New Haven: Yale University Press, 1990. viii. 2-48 pp. ISBN 0-300-04713-4 Robert Donington meant this book to be the culmination of his extensive work in the field of open. In many ways it completes the proces began many years before in Wagner's \"Ring \" and Its Symbols (London, 1983 ) and The Rise of Opera (New York, 1981). Indeed, the author regards it as a re-considenition of his work in this field and hopes that it will be \"in this new presentation, at once contracted and expanded\" [Donnington 1440: 4] that his contribution will be assessed. Although it would thus seem to he addressed to a scholarly audience, the work is in fact quite readily accessible to the general public -or at least that segment of it which is interested in opera. One example of expansion is the author's definition of opera itself. In The Rise of Opera. opera was defined its \"staged drama unfolding integrally in words and music.\" [Donington 1981:201 whereas in Opera and its Symbols, this has been enlarged to include the \"unity of words, music and staging.\" Indeed, the mural point of the book is that opera must he presented as a unified whole with its original music, text and staging if listeners are to receive the complete message of the work of an. Only in this way will the symbolism presented in each of the three arts act in complementary fashion. The \"enemy\" here is the stage director who insists on modernizing the production (something he would do to the music only in peril of his life!) \"on the misguided assumption that he can give a new freshness to the old conventions|.]... a mistaken enterprise from the study [Donington 1990: 12]. Donington objects to the grafting of alien imagery with a totally different message onto a story already complete in itself: Rigoletto as a Mafia tale, the Ring as a Marxist morality play. And indeed, on the proverbial \"desert island.\" given only one possible production of an opera, who would not opt for the original? But we are not as yet - on a desert island, and many of the operas which Donington discusses later in this book are performed often, perhaps too often, to maintain the interest of the knowledgeable opera fan. In this case, I, for one, do not object to some new ideas in staging, second-best as they may he. as a way to freshe the sense of the work. to surprise. to interpret better an image for the modern audience, or to draw a comparison between a character or situation which may illuminate both the opera itself and also a contemporary social situation. What works for one viewer may not, of course, work for another, this being a highly individual mailer. Perhaps, when an an work leaps continents, for example. it will mean more to a greater proportion of the audience if some (if the staging is reinterpreted tor that new setting. Perhaps, again, that new staging would he inappropriate if transplanted back 10 the original scene. I do not think the ma","PeriodicalId":224798,"journal":{"name":"Canadian University Music Review","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128669955","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

An Interview with Rob Walser in Toronto Rob Walser在多伦多接受采访

Canadian University Music Review Pub Date : 1900-01-01 DOI: 10.7202/1014481ar

R. Walser, Teresa Magdanz, S. Wood

引用次数: 0

"Stravinsky and C.-F. Ramuz: A Primitive Classicism" 斯特拉文斯基和c - f。拉穆兹:原始的古典主义

Canadian University Music Review Pub Date : 1900-01-01 DOI: 10.7202/1013905AR

T. Gordon

{"title":"\"Stravinsky and C.-F. Ramuz: A Primitive Classicism\"","authors":"T. Gordon","doi":"10.7202/1013905AR","DOIUrl":"https://doi.org/10.7202/1013905AR","url":null,"abstract":"Aside from a taste for fine paper and simple wines, there were few obvious links between Stravinsky and his Swiss literary collaborator and friend, Charles-Ferdinand Ramuz. Stravinsky was extroverted, socially adept, and direct; Ramuz was introverted, dour, and self-effacing. But from the moment they met there was an immediate empathy. Ramuz mythologized it in his famous Souvenirs sur Igor Stravinsky. Stravinsky's testament is found in the extended catalogue of works in which he invited Ramuz's collaboration.1 The close interaction between composer and poet resulted not only in an inventory of greater and lesser works, but also in a mutually evolving aesthetic. Transcending ethnic differences, Ramuz and Stravinsky enshrined both the elemental and the classic within the same aesthetic. If, at the end of his Swiss exile, Stravinsky rejected Ramuz's provincial limitations, the more literal classicism that he evolved in the twenties still owed much to the discipline and freedom from convention they had developed together. The new classicism was defined, in part, in the transposition of traditions of art into new forms. Stravinsky learned that process in the transposition of the elemental materials of folk music or peasant imagery into art.2 Furthermore, the cornerstone work of Stravinsky's new classicism is universally acknowledged as L'Histoire du soldat, the single result of the Ramuz-Stravinsky collaborations in which the writer participated fully in the determination of the work. The gentle Vaudois countryside with its cast of peasants provided the setting for most of Ramuz's fiction, but not his birth and childhood. He was born in Lausanne, on 24 September 1878, the son of a merchant. Though a burgher by birth, Ramuz was a peasant by ancestry and inclination. In the vineyards that had been tended by his mother's people for generations, on the soil that his paternal grandparents had worked, Ramuz found the sole concrete truths that he could nurture into art, and through which he envisioned the birth of a primitive classicism. Ramuz was well into adulthood before he could accept that the sensations he experienced in the Vaudois countryside were a more vital education than the strictures he dutifully accepted at the Gymnasium and Universite de Lausanne. His formal education was classical and doctrinaire. He so capably mastered composition in perfect alexandrines that he persuaded his family to allow him a career in the precarious field of literature. But the classical postures he had acquired were inadequate when the irregular rhythms of Vaudois peasant life naturally suggested a freer poetical form. As early as December 1901 Ramuz found himself questioning the necessity of rigorous discipline: What does it matter if the numerical symmetry of the syllables is always faithful, the rhymes always return, even if it is contrary to preconceived theories and my lively taste for the regular? . . . After all, all interior harmony (the word is ridiculous) b","PeriodicalId":224798,"journal":{"name":"Canadian University Music Review","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123976514","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Two Instrumental Arrangements from Early Sixteenth-Century Bohemia 16世纪早期波西米亚的两个器乐编曲

Canadian University Music Review Pub Date : 1900-01-01 DOI: 10.7202/1014394AR

Edward Kovarik

引用次数: 0