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Performing Arts and Technical Issues
, Brepols, 2021 Hardback, 480 pages, Size:215 x 260 mm, Illustrations:15 b/w, Language(s):English, French, Italian. ISBN 9782503597393.
Summary This volume addresses multiple facets of the artistic expression of a live performance, with a particular focus on the technical issues, people, and institutions related to it. Dance, musical theatre, mime, puppetry, and other performing arts are investigated through the lens of their various components, as well as their protagonists ? impresarios, companies, designers, conductors and directors. Specific sections of the book are devoted to lighting, scenography and costume design, staging, but also on circus, puppetry, dance, and entertainers. A number of articles are dedicated to single artists: Diaghilev, Massenet, Pacini, Poulenc, Verdi, and Wagner. With contributions by (in alphabetical order): Mathias Auclair, Raphaël Bortolotti, Michael Burden, Maria Birbili, Simone Ciolfi, Francesc Cortes, María Encina Cortizo, Nathalie Coutelet, Petra Dotlacilova, Catrina Flint, Federico Gon, Vesa Kurkela, Jürgen Maehder, Scott Palmer, Bertrand Porot, Manuela Rita, Ramón Sobrino, Valeriya Zharkova. TABLE OF CONTENTS Roberto Illiano Preface Performing Arts: Puppetry, Circus, Dance, Entertainers Catrina Flint de Médicis From Provence to Montmartre: Setting the Stage for Maurice Bouchor's Little Wooden Actors Bertrand Porot Les «jeux» des foires au xviiie siècle: les spectacles d'acrobate Nathalie Coutelet Les pantomimes nautiques du Nouveau-Cirque ou les pouvoirs spectaculaires de l'eau Mathias Auclair Les «fêtes galantes 1923»: Les Biches et le «festival français» des Ballets russes Vesa Kurkela Miscellany and the Great Split: Itinerant Entertainers in 19th-Century Helsinki Technical Issues: Stage Lighting Scott Palmer A Staging Revolution through Light and Music: Adolphe Appia, Wagner and Hugo Bähr María Encina Cortizo - Ramón Sobrino Luis París, director de escena en el Teatro Real de Madrid: de la escenografía iluminada a la creación de una poética de la luz escenográfica (1896-1907) Francesc Cortès Los proyectos para una renovación escénica del G. T. del Liceu en el cambio de siglo (xix-xx): mirando al futuro Jürgen Maehder The Early History of Laser Rays on the Opera Stage: Munich - London - Geneva - (Paris) - Bayreuth Scenography and Costumes Design Raphaël Bortolotti Les décors et machines originaux du théâtre de Feltre: Enjeux techniques d'une scène de province dans l'Italie du xixème siècle Valeriya Zharkova Principles of Creating a Scenic Image in the Opéra-Comique. Theatre in the Last Quarter of the Nineteenth Century Federico Gon «?I am satisfied that what is written will be done simply and exactely»: Reflections on «inventing the truth» in Rigoletto's Staging Petra Dotla?ilová Visible and Invisible Hands: Costume-Making Practices of Italian Music Theatre in the Early Modern Era Staging Simone Ciolfi 'Verisimilitude', 'Simplicity', 'Naturalness': Cultural Background and Performance Strategies of Eighteenth-century Cantata Recitatives Michael Burden «Put upon the stage as no opera I have ever seen for truth»: The London Staging of Pacini's Saffo in 1843 Manuela Rita Le disposizioni sceniche per Il re di Lahore ed Erodiade: La prassi della messinscena teatrale nel contesto delle relazioni Italia-Francia nella Terza Repubblica Maria Birbili Multimediality, Special Effects, and Precursory Film Techniques in the Staging of French grand opéra: The Composer as a Stage Director Abstracts and Biographies Appendix Index of Names
Twentieth-Century Music and Mathematics
, Brepols, 2019 Hardback, xxxiii + 382 pages, Size:216 x 280 mm, Illustrations:Musical examples and figures, Languages: English, French, Italian. ISBN 9782503585703.
Summary Music and mathematics have been connected since ancient times. During the twentieth century, however, many composers consciously started using many mathematical concepts, algebraic operations and theorems as bases for their creative processes. The first part of this volume deals with the relationship between music and mathematics in the music of composers such as Olivier Messiaen, Iannis Xenakis, Franco Evangelisti, Pierre Boulez, Arvo Pärt, Steve Reich and Philip Glass. A chapter is then dedicated to Spanish composers of the last forty years (Francisco Guerrero, Alberto Posadas, José María Sánchez-Verdú, Iluminada Pérez Frutos, Nuría Gimenez Comas, Helga Arias and José López Montes). The theme continues in the second part of the book through the examination of prominent theories (Neo-Riemannian theory, diatonic set theory, theory of musical kaleidocycles), the use of diagrams and charts in music, the algorithmic evolution of music, contemporary compositional practices inspired by mathematical concepts; it arrives at studies on double canons and trichords. We publish a philosophical study in order to ask what the future of the relationship between music and mathematics will be at the beginning of the 21st century. Includes an introduction by Massimiliano Locanto. TABLE OF CONTENTS Roberto Illiano Preface Massimiliano Locanto Music Composition, Mathematics, and the Modernist Legacy Twentieth-Century Composers and Mathematics Athanase Papadopoulos Messiaen et les mathématiques Ronald Squibbs Xenakis's Method of Stochastic Composition: A Brief Introduction Peter Hoffmann «My Music Makes no Revolution»: Thoughts on the Role of Mathematics in the Work of Iannis Xenakis Alessandro Mastropietro Simboli matematici nei titoli delle composizioni di Franco Evangelisti C. Catherine Losada Boulez and Mathematics Andrew Shenton 1 + 1 = 1: The Elengant Mathematics of Arvo Pärt's Tintinnabulation Joel Haack Mathematical Considerations of the Rhythmic Patterns in the Music of Steve Reich Richard Cohn Glass Graphs Pedro Ordóñez Eslava Ars combinatoria: poéticas del número en la composición española contemporánea (1980-2018). Breve antología inacabada Music and Mathematics: Theories, Practices, Future Henry Klumpenhouwer Neo-Riemannian Theory Franck Jedrzejewski Graphes et diagrammes, l'en-deçà de la composition Angelo Orcalli L'evoluzione algoritmica della musica. Omaggio a Jean-Claude Risset José L. Besada Where Science-Based Music Comes From: Some Cognitive Remarks upon Contemporary Compositional Practices Inspired by Mathematical Concepts, Operations, and Objects Richard Hermann On Near Maximally Even Set-Classes Guerino Mazzola The Role of Mathematics for Music in Theory, Composition, and Performance Luigi Verdi Due esempi di Chim(us)ica Dodici canoni tricordali e loro combinazioni. Caleidocicli e canoni ritmici François Nicolas Du partage moderne/contemporain en mathématiques et en musique à la lumière de Fernando Zalamea (Philosophie systématique de la mathématique contemporaine) Abstracts Biographies Index of Names
Music and the Figurative Arts in the Nineteenth Century
, Brepols 2020, 2020 Hardcover, .xiv + 527 p., 0 b/w ill., 20 col. ills 210 x 270 mm , English, ISBN 9782503589510.
This book explores the relationship between music and the figurative arts in the XIX century. In 1795 Friedrich Schiller wrote: «Die bildende Kunst in ihrer höchsten Vollendung muss Musik werden und uns durch unmittelbare sinnliche Gegenwart rühren» (Schiller, Über die ästhetische Erziehung des Menschen, Letter XXII, 1795). This sentence underlines the fundamental aesthetic change that coincided at the onset of the nineteenth century. According to «ut musica pictura», music becomes the model for an art able to express and communicate feelings. Even as music no longer necessarily has to embody order, so does painting move away from pure imitation to encompass emotional affect. Music and painting thus converge in embodying a sensual conception of the arts: music is capable of expressing emotions and arousing them in the audience; painting can do the same through visual perception. The present volume, which brings together 21 essays, focuses on encounters between composers and painters, but also on the relationship between music, literature and the figurative arts, as well as on the concurrence of musical and artistic aesthetics. Sections of the book are devoted to iconography, to the relationship with the theatrical arts (in particular the scenic aspect) and in one instance, to Franz Liszt. ROBERTO ILLIANO is General Secretary of the Centro Studi Opera Omnia Luigi Boccherini (Lucca) and President of the Italian National Edition of Muzio Clementi?s Complete Works. He is also a member of the scholarly committee of the Italian National Edition of Luigi Boccherini?s Complete Works. A founder of the journal «Ad Parnassum», he has published a variety of writings on 19th- and 20th-century music, in particular on Luigi Dallapiccola and Italian music under Italian fascism.
Sound, Music and Architecture
, Brepols, 2024 Hardback, 440 pages, Size:210 x 270 mm, Illustrations:125 b/w, 16 col., 15 tables b/w., 16 musical examples, Language(s):English, Spanish, Italian. ISBN 9782503611839.
Summary This book traces the relationship between sound, music and architecture from the Middle Ages to the 21st century. The first part of this volume deals with the physical relationship between music and architecture, focussing on the intersection between rite, sound and architecture in ecclesiastical spaces such as the Cathedral of Notre-Dame de Paris, the churches of medieval Sicily, the liturgical spaces of 15th-17th-century France and the Roman churches in the Baroque era. A substantial article by Richard Bösel presents a comprehensive panorama of music rooms and concert halls, starting from the archetypes conceived in the Early Modern Age and concluding with their present-day configurations. The last article of this section is dedicated to the Festspielhaus located in Hellerau (Dresden), based on the documentary sources and the writing of the protagonists, in particular Émile Jaques-Dalcroze and Adolphe Appia. The theme continues in the second part of the book with the examination of the historical relationship between architecture and acoustic knowledge in the age of modernity. Moreover, the following chapter explores the architectural idea of designing for musical tone as it found expression in the early decades of the twentieth century. The last two articles of this section explore Leo Beranek's research regarding the quality of musical spaces in the history of modern science, and the experimentations of the architect Bernard Leitner with his Soundcube. The last part of the book will focus on Music as an 'art of space', exploring installations and musical experimentations by composers such as Xenakis, Jean-Luc Hervé and John Chowning. TABLE OF CONTENTS The Physical Relationship between Music and Architecture 1. Vasco Zara, The Phantom of Notre-Dame: Music, Architecture, Acoustics, and the Origins of the Notre-Dame Polyphony 2. Thomas Dittelbach - Tobias Christian Weißmann, Aural Architecture in Medieval Sicily: Architecture, Music and Acoustics of Siculo-Norman Churches 3. Jean-Christopèhe Valière - Bénédicte Bertholon, Location of Acoustic Pots in the Liturgical Space: Functional, Symbolic, Musical and Acoustic Interpretation 4. Galliano Ciliberti, Progetti per cupole sonore. Strutture architettoniche e articolazione direzionale della musica liturgica negli spazi delle chiese barocche romane 5. Richard Bösel, 'Soundful Venues': Music Rooms, Concert Halls, and More 6. Guillem Aloy-Bibiloni - Antoni Ramon Graells - Laia Montserrat-Cortázar: Hellerau, espacio de encuentros: Adolphe Appia y Émile Jaques-Dalcroze Sound Architecture 7. Edward J. Gillin - Fanny Gribensky, Sound Architecture: Music, Speech, and the Science of Acoustics in the Age of Modernity 8. Fiona Smyth, «?Mysterious changes in molecular structure?»: Pragmatics, Poetics and Designing for Musical Tone 9. Sabine von Fischer, Confidential Rankings: The Rating of Experience, and Why the List of the Best Concert Halls Was Kept a Secret 10. Sven Sterken: Architecture without Walls: Bernhard Leitner's Sound Cube Music as an Art of Space 11. Makis Solomos, Xenakis's Polytopes and the « Diatope» 12. Marta Llorente Diaz, Ritmo: medida del tiempo, medida del mundo. Música y arquitectura, una colaboración entre Iannis Xenakis y Le Corbusier 13. Candida Felici, Building Bio-Spaces through Music: Metamorphosis and Illusionary Space in «Germination» by Jean-Luc Hervé 14. Laura Zattra - François-Xavier Féron, A History of the First Computer Sound Spatialisation System: John Chowning's Investigations at Stanford University (1962-1972)
