Documents found
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72.More information
In this text of a lecture, the author takes as his point of departure the priestly invocation of the "god" of postmodernity who, to the questions posed, offers various enigmatic answers, the substance of which the composer/speaker exegetically explains, including an exhortation by way of chanting.
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76.More information
Considering the environmental ethics as an emerging quality of an anthropo-ecological system, this article aims to interpret the reorganization of what the authors named as « Rhine river system » in the context of an ecological crisis. Through the meeting of two disciplines (sociology and engineering design), an interpretative framework is suggested in order to explain the organization of communication and information process between the various self-referential systems. The main purpose of this article is to focus on the action of each system in conditioning at last the dissemination and the acceptance of an unique environmental ethics, understood as the recognition of the intrinsic properties of the Rhine river ecosystem, and adapted to the referents of each system involved.
Keywords: Ethique environnementale, système socio-écologique, propriétés systémiques, risque, pollution environnementale, Rhin, Crise écologique, environmental ethics, anthropo-ecological system, risk, environmental pollution, Rhine river, ecological crisis
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77.More information
In a conversation with Tamara Bernstein, Canadian soprano Barbara Hannigan discusses topics related to her musical formation and early career, significant professional relationships, and the professional voice.Hannigan describes her early decision to specialize in contemporary music as a moment of quasi-religious vocation; she recounts the artistic processes of composers George Benjamin and Hans Abrahamsen when they were writing opera roles for her, and reflects on the influence of some of her colleagues and mentors, including the late Reinbert de Leeuw and three stage directors. She elaborates on the transformative experience of performing the title character of Alban Berg's Lulu; addresses the persistent prejudice against singers who specialize in contemporary music; and comments on approaches to vibrato in both contemporary and “early” music. Her observations on the implications of ageing for an elite singer speak to the intimate physical connection of an artist to her voice, and confirm Hannigan's fundamental commitment to singing as “complete incorporation.”
Keywords: Barbara Hannigan, contemporary vocal music, Reinbert de Leeuw, Lulu, Barbara Hannigan, musique vocale contemporaine, Reinbert de Leeuw, Lulu
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78.More information
Attention is focused on mediaeval frescoes in the lower church of San Crisogono (surviving in part), which have not systematically been examined before. Questions such as the probable date of execution, the identity of the commissioner and the significance of the decoration are asked and answered. The usual dating of the decoration to the 10th century is, on the basis of new stylistic and iconographic evidence, shifted to the 11th century and more specifically after 1041 when the legend of Saint Benedict received visual expression in the Abbey of Montecassino. This decorative cycle appears to be a key in unlocking the dating of the cycle in S. Crisogono, in providing an iconographic model for the depiction of the various scenes, and quite possible in offering not only a stylistic reference point but also in providing the patron of the Roman frescoes. It is proposed that the patron was the abate Federico da Montecassino, who was also cardinal of S. Crisogono and for a short time before his death in 1057, Pope Stefanius ix. If this suggestion is appropriate, then new information can be obtained from the cycle regarding 11th-century mural decoration and the importance of S. Crisogono in the development of this tradition.