接近偶然音乐:“反身表现”及其意义(三)

IF 0.2 2区艺术学 0 MUSIC

Journal of the Royal Musical Association Pub Date : 2022-11-01 DOI:10.1017/rma.2022.20

Leah Broad

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引用次数: 1

摘要

摘要二十世纪初的附带音乐尽管在这一历史时期得到了广泛的使用，但在音乐学上却很少受到关注。剧院是一种流行的方式，观众可以通过它与新音乐互动，作曲家可以尝试新想法并建立合作关系。本文使用1926年瑞典制作的August Strindberg的《Till Damaskus》（III），由Per Lindberg执导，Ture Rangström作曲，论证了将附带音乐分析为合作表演的重要性。它探索了“反射性表现”作为一种分析方法的使用，并结合了符号学和中介方法。

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Approaching Incidental Music: ‘Reflexive Performance’ and Meaning in Till Damaskus (III)

Abstract Incidental music of the early twentieth-century has received little musicological attention, despite its widespread use during this period of history. Theatres were a popular means by which audiences could interact with new music, and composers could experiment with new ideas and build collaborative relationships. Using a 1926 Swedish production of August Strindberg’s Till Damaskus (III), directed by Per Lindberg with music by Ture Rangström, this article argues for the importance of analysing incidental music as collaborative performance. It explores the use of ‘reflexive performance’ as a method of analysis, combined with semiotic and intermedial approaches.

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来源期刊

Journal of the Royal Musical Association MUSIC-

CiteScore

0.50

自引率

0.00%

发文量

期刊介绍： The Journal of the Royal Musical Association was established in 1986 (replacing the Association"s Proceedings) and is now one of the major international refereed journals in its field. Its editorial policy is to publish outstanding articles in fields ranging from historical and critical musicology to theory and analysis, ethnomusicology, and popular music studies. The journal works to disseminate knowledge across the discipline and communicate specialist perspectives to a broad readership, while maintaining the highest scholarly standards.