Documents found
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1162.
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1163.More information
Departing from what Hayden White has called the "tropologies" of historical discourses, or underlying narrative structures, in this article the author examines the trope of rejection of normative and conceptual histories. By rejecting a philosophical conception of history, those of Hegel, Ranke, Burckhardt and Dilthey provided the nineteenth century with various new models that are still in use today, and which draw on the idea of community, Lebenswelt, and context. These models also tend to focus on the particular, as opposed to the formation of general laws. This type of history may be found in a few examples of nineteenth-century German musicology and in some histories of contemporary music by revealing the transition from "axiological" histories (which developed strong criteria of elimination and a tendency to restrict the canon) to the views of the contextualists, a gravitational point for the skeptical and anti-philosophical views of our time. The former are committed to the definition of the art work; the latter are bent on overturning any such ideas.
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1164.More information
This article examines how a media space was built around Richard Wagner's writings in mid-19th century Germany. The contribution takes into account the reception by the German press of all the composer's theoretical texts, from his first essays to Zurich's writings on opera reform. It is clear that the reception of his writings in the specialized and daily press and the liveliness of the debates they gave rise to play a decisive role not only in the birth of the Wagner phenomenon, but also in the way in which his dramatic work was perceived through analyses that were sometimes precise, but often reductive or even erroneous.
Keywords: antisémitisme, critique musicale, presse, réforme de l'opéra, Richard Wagner, antisemitism, music criticism, press, reform of the opera, Richard Wagner
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1165.More information
The first consequence of the digital transition in the music industry is to bring about a crisis in the physical media market which has not yet finished delivering all its implications. At the same time, live music has regained a central position as an axis of value creation, for artists as for other players in the ecosystem. And this specificity was partly due to the difficult dematerialization of the ‘hic et nunc’ of the concert. With livestream, whose development has accelerated sharply with the Covid19 pandemic, live music is created and broadcast online, via ad hoc technical solutions, but above all via social content sharing platforms. Put into perspective by an analysis of the practices observed during the year 2020, the positioning of the Twitch livestream platform leads to an interest in the methods of content creation, the interactions that take place around it, as well as the economic models that emerge.
Keywords: live, livestream, twitch, youtube, covid19, live, livestream, twitch, youtube, covid19