Documents found
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531.
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532.More information
In this article, I argue that deafness is not a deficit for musical experience; rather, it is a source of musical ability. I do so by summarizing some of the different techniques used by Deaf musicians who create music in a signed language. I focus on how signing musicians use different types of movement to create rhythm, and use the movement of their bodies through space to create a sense of melody. Rhythm in signed music is created in a visual-tactile medium, rather than a sonic one. Specifically, it is created through movement of the hands, body, face, and head. Melody in signed music involves the directed, purposeful movement of the body through the signing space, which uses movements and holds to create dynamic, kinetic lines. I explore these concepts using examples from signed rap music by the artist Sean Forbes, and an asl cover of Carrie Underwood's song Blown Away by Rosa Lee Timm.
Keywords: Surdité, langue des signes, musique signée, analyse musicale
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535.More information
The 126 « Variations… sans thème » (Variations… without theme) which Yves Margat wrote for Le Guide du concert between 1934 and 1939 provide a particularly interesting insight into the discourse about music in France during the economical, cultural and political crisis of that period. Margat's humorous column is ironical about the place of music within the Parisian society as well as about the crisis of musical language and listening. Margat builds his reliability as an opinion-maker by his activity as a teacher (his harmony courses are widely publicized in the journal publishing his column) and, conversely, he promotes his courses as the solution to the ills he speaks out against. This calls into question the status of Margat's columns.
Keywords: Yves Margat, crise des années 1930, ironie, modernisme, idéalisme, Yves Margat, crisis of the 1930s, irony, modernism, idealism
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536.More information
In the cultural Cold War context of competition between Communist-aligned World Peace Council and American-supported Congress for Cultural Freedom, the latter developed an offensive media policy, in particular with a bunch of specific journals in some European country, among others Preuves in France. Links were also built with other reviews for special issues, like La Revue Musicale. Twice, in 1952, on the occasion of the festival “L'Oeuvre du xxe siècle,” and in 1965–1966, with the survey “La musique sérielle aujourd'hui” (“Serial music today”) conducted by André Boucourechliev, composers' texts about musical creation were gathered, respectively in La Revue Musicale and Preuves. Composers were asked—more or less explicitly—to express their opinion on the current evolution of music, generally or under a specific problematic. These writings display a great diversity in tone and content and reflect various ways to address the general public. This paper considers how composers enter this media field.
Keywords: guerre froide, musique contemporaine, politique culturelle, sérialisme, xxe siècle, Cold War, cultural politics, New Music, serialism, 20th century
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537.More information
A French composer who visited Darmstadt on several occasions in the 1990's, Brice Pauset uses the Darmstadt train station. He describes the Ferienkurse as a double-edged manifestation of ruin and consumerism. At the same time, he acknowledges aspects that constitute a form of artistic transcendence.
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538.