Documents found
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1462.More information
The speaking pianist is a musical genre which interrogates the performer's relationship to music itself, as well as the representation of the musician on stage and the projection of himself or herself and of the works to the audience. If, as Artur Schnabel wrote, music is a solitary art that can be practiced in one's room, the same cannot be said of this hybrid artform which integrates spoken text and confronts the performer with new challenges even as it recalls the ancient tradition of the troubadour. This article invites us to explore a contemporary repertoire off the beaten path through the works of Frederic Rzewski, André Ristic and Alec Hall.
Keywords: Frederic Rzewski, piano, Stephane Ginsburgh, contemporain, création
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1463.More information
What is a musical work? This ontological question raised by Roman Ingarden in his work critical of Husserl's phenomenology presents numerous common aspects with the issue of “musical Platonism” which was developed in the 1980s by analytic philosophers such as Jerrold Levinson and Peter Kivy. In 1992, Lydia Goehr put forward a radical historicization of the concept of musical work, without nonetheless discarding an ontological project, recently stressed in Roger Pouivet's considerations on the “rock musical work.” This essay sums up these philosophical debates and underlines the sociological crisis of the concept of work in the context of the digital revolution and the fragmentation of the classical repertoire required by the cultural industry. Considering Ingarden's definition of the “purely intentional object” from the point of view of the common sense's destabilization, this study compares the ontological status of the musical work to that of fictional beings, such as a novel character, as well as to that of entities, such as the mountains echoed by Barry White's “granular theory of reality,” emerging from the projection of language usages onto the audible world.
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1465.
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1466.More information
Writer and art critic, Raymond Bouyer (1862-1939?) was a prolific music chronicler especially for Le Ménestrel from 1898 to 1939. Questioning in particular the practice of musical criticism, Bouyer published in Le Ménestrel in 1909 a series of articles on the situation of music criticism facing the history of art criticism. Alluding to the Greek world, which has occupied the minds of musicians for some time, the critic turns to a genealogy of criticism to draw a number of conclusions about modern criticism, recalling that it has at least one constant: self-referentiality (“in spite of the progress of erudition, every era of art judges from its point of view... it's human!”).
Keywords: Bouyer, critique musicale, esthétique musicale, relations interartistiques, Ménestrel, Bouyer, music criticism, musical aesthetics, interartistic relationships, Ménestrel
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1467.
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1470.More information
This article is based on a lecture given on the occasion of a workshop celebrating the centenary of Lévi-Strauss. The latter was intended to briefly summarize the nature of his structuralist gaze and the anthropological concerns that underlie his thinking. It also recalled the highlights of Lévi-Strauss's research, which still allow many of the humanities to pose new challenges and face them while retaining the lessons of history.Faced with a colossal body of work that has been repeatedly analyzed, my approach is to focus on what Lévi-Strauss reveals of his intellectual journey in his work, but also during the many interviews he gave: notably, his sources of inspiration, his opinion of his own writings and how these were received, namely, the criticisms that were made but also the responses he provided.In a way, it is an attempt to consider the man in his approach as an anthropologist, and also to evoke Lévi-Strauss on Lévi-Strauss at the heart of the humanities, an environment naturally conducive to lively debate.