Documents found
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142.More information
When German filmmaker Werner Herzog directs or produces three documentaries on the creation and recording of the music of three of his films between 2005 and 2011, he performs a double gesture of revelation and incarnation: the notes become visible through the body of the musicians. In doing so, Herzog reveals his poetic art: musical forms respond to nature, so present in his films; nature is seen as an instrument of harmony while music becomes a power of estrangement, getting our perceptions out of tune; and by giving us access to both the infigurable – the moral being – and the material body made of flesh and bone, the music opens a path to the heart of the world.
Keywords: Herzog, Grizzly Man, nature, mimèsis, incarnation, Herzog, Grizzly Man, nature, mimesis, incarnation
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143.
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144.More information
During the interwar period, the development of dance halls and the circulation and marketing of dance music reached an unprecedented level in the Montreal area. This article looks at how three different sources of dance music (commercial dance space, radio, and the phonograph) operate in an intermediality that changed the dancers' connection to orchestral dance music and altered the organization of dance nights.
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147.More information
The author attempts to analyze the reasons for which, ten years after the death of Zappa, it remains problematic to ascertain the composer's significance within the latter half of the twentieth century. As well as examining Zappa's profound stylistic and compositional originality, this paper foregrounds the eminently postmodern character of his music, and underlines musicology's difficulty in taking seriously a body of artistic work that refuses to take itself too seriously.
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149.More information
Joint musical-dance performances can be analyzed through different perspectives. The aim of this article is to compare four choreomusicological analytical methods among the most cited in the scientific literature in order to best characterize the relationship between music and dance. The interest of this research is to foster new analytical studies of the folk-stage repertoire in Bulgaria, but not exclusively. We will start to explore the methods of Stephanie Jordan, Fyodor Lopukhov, followed by the one of three researchers, Tamas Ungvary, Simon Waters and Peter Rajka, before dealing with the one of Paul Hodgins. We will evaluate which structure is the most useful for the study of the Bulgarian folk-stage repertoire. If the categories proposed by Jordan give a preponderant place to rhythm, the guidelines developed by Lopukhov relate more to advice about creation. The parameters of Ungvary, Waters and Rajka are more oriented towards a reflection on the characterization of the relationship between music and dance. Hodgins' paradigm includes a significant number of choreomusicological evaluation criteria that seem to be promising.
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150.