Musicality

Аннотация
В статье производится сравнение роли джазовой музыки и приемов музыкализации в рассказах Дж. Болдуина и Х. Кортасара. Предполагается, что при тематическом и сюжетном сходстве наличие (Болдуин) и отсутствие (Кортасар) черт музыкальности служит дополнительным способом передачи авторского замысла.
Ключевые слова: музыкальность, музыкализация, джаз, интермедиальность, художественная проза

Abstract
The article is dedicated to the comparison of musicality, musicalization, and the overall role of jazz in short stories by James Baldwin and Julio Cortázar. It is suggested that, with considerable thematic and plot similarities, the difference in their approach to musicalization becomes an additional tool for expressing each story's general idea.
Key words:  musicality, musicalization, jazz, intermediality, fiction

This thesis takes its point of departure in the prominent use of the term ’musicality’ as a prestige word in theatre discourse where, obviously, not exactly the same reference and meaning is ascribed to the concept as in contexts of music. There seems to be very little previous research in this area, if any. The research question is formulated thus: What do theatre practicians mean when they speak of an actor acting with musicality?
The investigation is divided into three studies. Study A focuses on different perspectives on musicality in the field of music, based on explorative literature studies. Study B focuses on a sample of citations from literature on theatre where musicality and related concepts seem to be put forward in interesting and relevant ways in connection with spoken theatre. Study C is based on a series of explorative interviews with theatre practicians working as educators at Malmö Theatre Academy, Sweden.
The results of study A indicate that (i) references to art forms other than music are very rare among musicologists discussing the concept of musicality; (ii) there are reasons to distinguish between three different perspectives on musicality, introduced by Brändström (1997; 2006) as an absolute, a relativistic and a relational view; and (iii) there are reasons to distinguish also between two perspectives on music: an aesthetic view (Reimer, 1970/1989) and praxialism (Elliott, 1995).
Study B is divided in two sections, one chronological and one systematical. The historical overview presents a collection of citations related to three ideals or paradigms of theatre: the rhetorical, the realistic and the modernistic ideal. The systematic overview is structured in accordance with the different practitioners’ perspectives that are put forward: following a collection of citations related to ”musical dramaturgy”, the views of directors, educators and actors, respectively, are presented. Educational and professional theatre discourses through history as well as today are shown to include a great variety of perspectives on music and musicality.
A detailed analysis of the interviews in study C indicates that the concept of musicality as understood and used by the interviewees can be interpreted as a combination of abilities in the actor. These abilities are divided in three groups, all of which constitute necessary conditions for the actor’s musicality: acting and being ”here and now” with all senses (”presence”); apprehending, analysing and building structures (”structure”); and acting and being free, relaxed, active and open (”flow”).
In conclusion, the results of the study seem to indicate that the term ’musicality’ is often applied in the field of theatre in a way that could be understood as metaphorical. Based on these results, it would seem potentially fruitful to regard ’musicality’ in theatre discourse as a socially constructed concept or even as a fiction in Vaihinger’s sense. A number of suggestions for further research are put forward.

Italian is said to be the language of the music and it is legitimate wondering what makes it so fitting the idea of musicality. The present paper opens with the presentation of "The Italian of music, the music of Italian", an argument examined during the week of Italian in the world. The history of music tells us that operas have originated and developed in Italy, therefore it is not possible to split the concept of Italian as a musical language from the one of Italian as a language for the music. Moreover, the Italian language can be put in first place in the field of musicality also thanks to its rich linguistic musical baggage. Some words such as adagio, allegro, soprano and tenore have become loanwords for many languages and some phraseologic expressions such as dare il tono are used as idioms in the everyday conversation. Despite the brilliant success of the language in the musical scenario, the present paper will consider the linguistic traits and analyse what it means for a language to be more or less musical and which are the elements that can give to a language the connotation of musicality. The Italian language owes some characteristics, namely, from the point of view of phonetics, the abundance of vowels and vowel endings, the modulation of syllables, the double consonants and the linguistic phenomena of elision, truncation and apocope. The syntax gives as well tones of movements to the sounds of the language. A wide array of word order inversions permits in this sense to the Italian language to be flexible and more conceived as musical.

“Every new object, well contemplated, opens up a new organ of perception in us” — Goethe

‘Withness’-thinking is the kind of thinking we require in dealing with the unique people and unique difficulties we meet in our everyday lives. It is not a new and special kind of thinking that requires special training to learn. We in fact already do it. It is the kind of thinking we employ everyday when someone says to us – from in the middle of our doing something with them – “Well, I don’t see how you can do that! And we reply say to them, to them, “Simple, like this,” and show them how by our own example, or say to them, “Well, look at it this way,” and go on to give them a verbal image or picture of some kind – and they say, “Oh, I see,” and now go on to act with either the example of our own action in mind, or with the image we’ve given them in mind, to guide them. Even when we have to work in more abstract terms, doing calculations, say, even here we work-with, think-with, certain basic, taken-for-granted, hemeneutically-structured understandings to guide us.

There are certain thoughts - intimations - that will seem corny, or laughable, and therefore dismissed - and only seriously absorbed into the changing mind when felt, in the shelter of the quietly moving music of the soul.
It is the function of art, and of love, to make this music heard . . . 

  It is not the music of depression - it is the way through.

The association between human speech, language and communication (SLC) and participation in music is manifest in music education and psychology literature in a number of ways. Research studies into young children’s SLC are numerous and policy focus on this area of children’s learning and development and their later literacy has been intense. By contrast there is a gap in research into young children’s musical worlds especially in the home, even though existing research shows the additional benefits of shared music activities over shared reading activities for children’s prosocial skills and music making for parent-child communication.  This paper reports on a survey and interviews of parents carried out in England with a focus on the musical activities of children aged birth to five in the home.  Contrary to previous studies, findings suggest that children participate in a range of spontaneous shared musical activities in the home daily. The factors that both promote and inhibit musical activities in the home for young children are highlighted. The study also shows that children are participating in a wide range of organised, structured musical activities outside the home.  Research is needed to examine the quality of such activities and the appropriateness of formal musical activities for very young children to ensure that formality does not disturb spontaneity in young children’s musical worlds.

This study tries to reveal the views of Cioran on music. First we notice
his regret for not being a musician and then we examine the links Cioran
establishes between musical passion and psychological pathology. Cioran.
We oppose Cioran’s thinking and those of Tolstoy and Plato. The analysis goes
on with Cioran’s favourite composers like Bach, Mozart and Brahms, but not
neglecting his taste for folklore. Finally, we examine Cioran’s views on music
as an expression of the desire for infinity.

As the complicated relationship between music and theatre has evolved and changed in the modern and postmodern periods, music has continued to be immensely influential in key developments of theatrical practices. In this study of musicality in the theatre, David Roesner offers a revised view of the nature of the relationship. The new perspective results from two shifts in focus: on the one hand, Roesner concentrates in particular on theatre-making - that is the creation processes of theatre - and on the other, he traces a notion of ‘musicality’ in the historical and contemporary discourses as driver of theatrical innovation and aesthetic dispositif, focusing on musical qualities, metaphors and principles derived from a wide range of genres.

Roesner looks in particular at the ways in which those who attempted to experiment with, advance or even revolutionize theatre often sought to use and integrate a sense of musicality in training and directing processes and in performances. His study reveals both the continuous changes in the understanding of music as model, method and metaphor for the theatre and how different notions of music had a vital impact on theatrical innovation in the past 150 years. Musicality thus becomes a complementary concept to theatricality, helping to highlight what is germane to an art form as well as to explain its traction in other art forms and areas of life. The theoretical scope of the book is developed from a wide range of case studies, some of which are re-readings of the classics of theatre history (Appia, Meyerhold, Artaud, Beckett), while others introduce or rediscover less-discussed practitioners such as Joe Chaikin, Thomas Bernhard, Elfriede Jelinek, Michael Thalheimer and Karin Beier.

Wlodzimierz Staniewski, director of the Polish Centre for Theatre Practices Gardzienice, considers directing as a praxis pertaining to the field of musical composition. His pieces have been theorised as either “ethno-oratoria” or “village operas,” while the pedagogy developed by the group is a territory for the exploration of the tensions between the physical and the vocal. Building on my recent fieldwork with the company, this chapter problematizes the separation of vocality and choreographic/movement practices in performer training and uses Gardzienice’s example as a case study in physiovocality. Meanwhile, the core principles of Staniewski’s work, namely mutuality, musicality and chorality, are analyzed as points of departure from music theaters towards a theater of musicality.

ИНТЕРМЕДИАЛЬНЫЙ АНАЛИЗ ЛИТЕРАТУРНОГО ТЕКСТА (на материале рассказа А. П. Чехова «Ионыч») Стаття присвячена інтермедіальному аналізу оповідання А. П. Чехова «Іонич». Досліджуються особливості тексту, що є типовими для феномену інтермедіальності. Аналізується структурний паралелізм оповідання і сонатної форми. Ключові слова: інтермедіальність, музичність, сонатна форма Статья посвящена интермедиальному анализу рассказа А. П. Чехова «Ионыч». Исследуются особенности текста, типичные для феномена музыкальности литературы. Анализируется структурный параллелизм рассказа и сонатной формы.

Musikalische Tests werden in der Pedagogischen Forschung und Zusammenhangsforschung zahlreich eingesetzt. Nach E. Gordon sollte man musikalische "Attitude Tests" auch im Musikunterricht einsetzten um Schüler:innen besser einschätzen zu können und besser im Lernprozess begleiten zu können. Ob es sinvoll ist die Schüler:innen zu testen bleibt in diesem Kontext unerheblich. Interessant ist es aber, wonach Musikalität in solchen Tests festegestellt wird. So kann man dieses Wissen im Instrumentalunterricht einsetzen um die Musikalität der eigenen Schüler:innen zu fördern. In den verschiedenen musikalischen Tests werden immer die selben Fertigkeiten (Tongedächtnis und Tonvorstellung, Tonhöhenunterschiedsempfindlichkeit , Rhythmus und Rhythmusvorstellung, Melodievergleich, Intensität, Akkordanalyse, Harmonie, Stilvergleich) untersucht. Das lernen dieser Fertigkeiten sollte man also Schüler:innen im Instrumentalunterricht vermitteln. Der Pädagoge Anselm Ernst spricht von "Lernfelder", die man im Instrumentalunterricht immer miteinbeziehen müsste um nicht nur die Fertigkeiten der Schüler:innen zu fördern, sondern auch um die Musikalität der Schüler:innen zu entfalten.

Songbirds spend much of their time learning, producing, and listening to complex vocal sequences we call songs. Songs are learned via cultural transmission, and singing, usually by males, has a strong impact on the behavioral state of the listeners, often promoting affiliation, pair bonding, or aggression. What is it in the acoustic structure of birdsong that makes it such a potent stimulus? We suggest that birdsong potency might be driven by principles similar to those that make music so effective in inducing emotional responses in humans: a combination of rhythms and pitchesdand the transitions between acoustic statesdaffecting emotions through creating expectations, anticipations, tension, tension release, or surprise. Here we propose a framework for investigating how birdsong, like human music, employs the above “musical” features to affect the emotions of avian listeners. First we analyze songs of thrush nightingales (Luscinia luscinia) by examining their trajectories in terms of transitions in rhythm and pitch. These transitions show gradual escalations and graceful modifications, which are comparable to some aspects of human musicality. We then explore the feasibility of stripping such putative musical features from the songs and testing how this might affect patterns of auditory responses, focusing on fMRI data in songbirds that demonstrate the feasibility of such approaches. Finally, we explore ideas for investigating whether musical features of birdsong activate avian brains and affect avian behavior in manners com- parable to music’s effects on humans. In conclusion, we suggest that birdsong research would benefit from current advances in music theory by attempting to identify structures that are designed to elicit listeners’ emotions and then testing for such effects experimentally. Birdsong research that takes into account the striking complexity of song structure in light of its more immediate function e to affect behavioral state in listeners e could provide a useful animal model for studying basic principles of music neuroscience in a system that is very accessible for investigation, and where developmental auditory and social experience can be tightly controlled.

The pattern of acquisition of speech- and music-related skills during early stages of human infancy provides insight into the origins of language and music. Indiscriminate until shortly after birth, babies start gradually developing acoustic features in their vocalizations, as well as accompanying behaviors that make it possible to distinguish their attempts to speak from their attempts to sing. Comparative analysis of tonal organization of children's original (non-imitative) vocalizations in their developmental succession throughout the first 3 years of life casts light on several important acoustic features. These features play an important role in the separation of music from verbal skills and shaping the primordial music system the infant uses to address his/her musical needs.
Much of the existing scholarship commits a fundamental error by interpreting the earliest forms of human speech and music in terms of "adult" state of their mastery, regarding children's communication as a sort of "defective" imitation of adults' models. Moreover, such models are significantly biased towards Western classical music and Indo-European languages, which despite their cultural importance in the modern world, nevertheless, constitute only a small fraction of typology of tonal musical and phonological verbal organization. A much more comprehensive approach towards children's music and speech has been developed by Lev Vygotsky and his circle: Alexander Luria, Aleksei Leontyev, Alexander Zaporozhets, Peter Galperin, as well as Boris Teplov. They and their followers regarded children's speech and music as reflecting a child's own peculiar method of thinking. The Vygotskian approach shares much in common with that of Piaget and the neo-Piagetians, but offers an alternative framework for explanation of the dichotomy between language and music—based on the methodology of intonation theory by Boleslav Yavorsky and Boris Asafyev. This theory was implemented in the state program of obligatory education within all territories of the former USSR; it had passed deep scrutiny throughout many years of administration over a massive population, which resulted in creation of a special discipline of ear development that theoretically and practically dealt with the development of "musical hearing" as distinguished from "verbal hearing" throughout childhood. Unfortunately, much of this literature is unknown to Western developmental specialists. This chapter covers this gap, familiarizing English-speaking scholars with the unique perspective on early musical and verbal development by Soviet and modern Russian ear-training specialists, with special attention to the issue of absolute pitch.
Advances in the methodology of intonational analysis made possible an adequate description and deeper understanding of the principles that govern tonal organization of non-Western types of music—including those that are based on timbre rather than pitch. This approach can be effectively applied to the analysis of both, ethnological and developmental data—to identify the common patterns of ontogenetic and phylogenetic development.

Bi-musicality (being fluent in more than one musical language) enables humans to undergo a "subject-shift" or moment of transcendental subjectivity when they become aware of themselves as actors in the world and thereby view the world with themselves inside it. Subject shifts are a peculiarly rich way of being in the world, opening towards grounded experiential knowledge.

This article argues that deaf musical knowledge became epistemically excluded from systems of musical thought in the United States as the result of a battle between two competing philosophies of deaf education in the nineteenth century: manualism and oralism. It reveals how oralist educators explicitly framed music as exclusively involving “normal hearing”—and thus as outside of deaf knowledge except through technological intervention—by drawing on ideas about eugenics, race, and authenticity. Ideas about morality and technology also colored views of deaf musicality in the United States, shaping the reception of deaf music-making throughout the twentieth century until today. This article tells the story of how deaf music-making came to be forgotten and discovered, again and again, in the U.S. consciousness. By way of conclusion, I suggest that in order to address the epistemic exclusion of deaf musical knowers, we must carefully attend to what deaf epistemologies bring to music stud...

The aim of my essay is to illustrate the concept of Americanness depicted by Walt Whitman in Song of Myself, as well as how the modern poetic discourse employed in this poem contributes to conveying this concept. I will highlight certain relevant sections of the poem and discuss how they embody the American spirit of the 19th century in relation with the importance of the self, tradition and the images painted by Section 15, and point out how the language and rhetorical devices used within this poem fortify this spirit or how they support the overall musicality of the poem.

Jean-Luc Nancy's phenomenology of listening (trans. 2007) makes a series of claims about the sonic / auditory nature of the subject. First among these is the claim that the subject is a subject to the extent that it is listening, that it is all ears. The subject emerges on the back of the resonance of timbre in the body and the body's becoming-rhythmic.

Na związki twórczości lirycznej Paula Verlaine’a z muzyką zwracano uwagę już od momentu publikacji jego debiutanckiego tomu poetyckiego Poèmes saturniens w 1866 roku. Kolejne zbiory potwierdzały tezę o silnej inspiracji „biednego Leliana” sztuką dźwięków – jej aluzyjnością, wieloznacznością, ale jednocześnie możliwością wyrażania najwznioślejszych uczuć i stanów duszy. Verlaine’owskie próby tworzenia liryków na wzór wypowiedzi muzycznych osiągnęły apogeum w tomie Romances sans paroles, którego tytuł stanowi nawiązanie do miniatur fortepianowych F. Mendelssohna i R. Schumanna. Zainteresowanie Verlaine’a brzmieniowym wymiarem utworów lirycznych słabnie wraz z deklaracją „zmiany systemu”, która nastąpiła podczas pobytu poety w więzieniu, i w związku z jego nawróceniem na katolicyzm. „Urodzony pieśniarz” nigdy jednak nie wyzbył się predylekcji do nadawania wierszom „pieśniowego” tonu, stąd wiele z jego późniejszych dzieł zbliża się pod względem ekspresyjnym do tych tworzonych w czasach literackiej świetności. Ta jednorodność nastroju, nazywanego czasem „muzycznym smutkiem”, decyduje o oryginalności dorobku poetyckiego Verlaine’a.

In A Million Years of Music, Gary Tomlinson develops an extensive evolutionary narrative that emphasises several important components of human musicality and proposes a theory of the coalescence of these components. In this essay I tie some of Tomlinson’s ideas to five constraints on theories of music’s evolution. This provides the framework for organising my reconstruction of his model. Thereafter I focus on Tomlinson’s description of 'entraining' Acheulean toolmakers and offer several criticisms. I close with some tentative proposals for further theorising.

This article focuses on discussing some proposals of aesthetic upgrade of modernism in São Paulo, analyzing the writings of Mario de Andrade and his readings of modernist magazines such as L'Esprit Nouveau. The aim is to understand how, through criticism, he sought to link the country to the scenario of modernity, taking music and the sensory universe as motif and art as instrument of renewal and dissemination of Brazilian intellectual culture.

Este trabalho discute o fazer musical
contemporâneo permeado pela cultura
digital, em especial no âmbito da utilização de aplicativos na educação musical.
Em sua fundamentação, propõe o delineamento de algumas das principais transformações promovidas por recursos associados às novas tecnologias digitais e
problematiza possíveis novas habilidades
e subsídios necessários aos educadores e
músicos hoje. Ilustram a discussão investigações e práticas pedagógicas da autora na utilização de diferentes recursos
empregados em seus projetos de ensino,
pesquisa e extensão no fomento de práticas musicais a partir do canto coletivo e
da flauta doce. Conclui entendendo que
a cultura digital abarca uma grande variedade de recursos, que podem promover e
qualificar a performance musical, exigindo
para isso novas capacidades do educador
musical, bem como de estudantes e profissionais da música. Nesse sentido, também se ampliam as concepções do fazer
musical e do próprio conceito de musicalidade.

In order to understand literature and fine arts better, we often turn to music, speaking of the ‘tone’ in a book and of the ‘rhythm’ in a painting. In attempts to understand music better, we turn instead to the narrative arts, speaking of the ‘story’ of a musical piece. This book focuses on two examples of such conceptual mirror reflexivity: narrativity in jazz music and musicality in spoken theatre. The book will be of interest not only to scholars of music and theatre, but also to those who work in the fields of aesthetics, intermedial studies, cognitive linguistics, arts theory, communication theory, and cultural studies.

This text considers a discussion about musical development. Anchored in the historical-cultural psychology, it looks to surpass the classic division between what is innate (or biological) and what is acquired (or cultural), that divides thinkers in diverse areas of knowledge. Starting from a description of the process of psychic development according to the theoretical perspective assumed, it delineates, by approaching, some relative aspects of musical development. The main objective of this discussion is to allow a revision in educational conceptions of music, especially because of the necessary relativization of the musicality concept.

Resumo: Este trabalho tem por base uma dissertação de mestrado em andamento e por objetivo investigar possibilidades de uma educação musical para o desenvolvimento da musicalidade da pessoa surda, considerando sua cultura. Percebendo o indivíduo como unidade afeto intelecto, baseado na perspectiva histórico-cultural de Vigotski e na sua obra Fundamentos da Defectologia que compreende a existência do defeito, mas considera que a deficiência é um construto social, temos como característica nesta pesquisa esta visão do indivíduo como um organismo em unidade. A representação da música na sociedade contemporânea carrega em si traços de sua concepção baseada numa série de ideias e ideais que incluem uma música para ser ouvida unicamente pelo ouvido, e não como este sendo uma das inúmeras possibilidades que o indivíduo pode vivenciá-la. Aqui buscamos como abordagem para compreender estas possibilidades a etnografia sensorial, que considera o organismo como um todo em uma interconectividade dos sentidos, ressaltando que não há isolamento entre eles, mas sim uma unidade perceptiva do ser. Palavras chave: Educação musical. Cultura Surda. Perspectiva histórico-cultural. Musicalidade. Resumen: Este trabajo se basa en una tesis de maestria en curso para investigar las posibilidades de la educación musical para el desarrollo de la musicalidad de la persona sorda, teniendo en cuenta su cultura. Notando la persona como unidad afecto intelecto, basado en una perspectiva histórica-cultural de Vygotsky y en su obra Fundamentos de la Defectología que comprende la existencia del defecto, pero considera que la discapacidad es una construcción social, presentamos en esta investigación este punto de vista del individuo, como un cuerpo/organismo unitario. La representación de la música en la sociedad contemporánea lleva consigo las huellas de su diseño basado en una serie de ideas e ideales que incluyen una música para ser escuchada por el oído y no como siendo esta una de las numerosas posibilidades que el individuo pueda percibirla. Aquí buscamos entender cómo abordar estas possibilidades por la etnografía sensorial, que considera al organismo como un todo en una interconectividad de los sentidos y señala que no hay aislamiento entre ellos, sino una unidad perceptiva del ser. Palabras clave: Educación musical. Cultura de los sordos. Perspectiva histórico-cultural. Musicalidad.

How can we rethink the importance of voice in performance? How can we understand voice simultaneously as music and text, as sound and body, or as both personal and political?

This book explores voice across genres, media and cultures, inviting the reader to reassess established ways of analysing, enjoying and listening to voice. Using a wide range of case studies integrated with critical and philosophical frameworks, it makes audible the multiple ways in which voice contributes to how we perform identities. From opera and musical theatre to live art and immersive audio walks, Konstantinos Thomaidis presents voice as plural, elusive and ripe for reinvention.

La musicalidad en danza no necesita música. ¿Cómo se se hace aparente entonces la musicalidad, y hasta qué punto es social? Queremos definir la musicalidad en tanto que de habilidad social (Wacquant, Collins). Vamos a analizar cómo los bailarines comparten su juicio artístico al relatar las tareas coreográficas que han seguido en el ensayo de una pieza de danza. Nuestra premisa para este artículo es que la musicalidad forma parte de un vocabulario de motivos de justificación artística. Y que, en tanto que habilidad social, la musicalidad depende de la escucha y la fisicalidad. Para captar la variabilidad de la habilidad social de la musicalidad hemos observado qué sucede cuando el coreógrafo da instrucciones y dirige un ensayo, mediante una etnografia cognitiva de una compañía de danza inglesa. Como parte del corpus de datos recogido, hemos analizado mediante los principios de la teoria fundamentada 11 entrevistas a bailarines y bailarinas. Veremos que la unidad de análisis de este artículo no es ya el bailarín o la bailarína, sino la interacción social como un acoplamiento autoregulado entro dos o más miembros de la compañía. Los resultados muestran cómo la musicalidad es una habilidad social que sólo puede funcionar en relación a una red de habilidades sociales, entre las cuales se encuentra la fisicalidad y la escucha. Se trata, en definitiva, del producto local de la cognición distribuida en el estudio de danza.

Musical tests are used extensively in pedagogical research and context research. According to E. Gordon, musical 'aptitude tests' should also be used in music lessons in order to be able to better assess students and better accompany them in the learning process. Whether it is necessary to test the students remains irrelevant in this context.

Alicia Alonso contended that the musicality of Cuban ballet dancers contributed to a distinctive national style in their performance of European classics such as Giselle and Swan Lake. A highly developed sense of musicality distinguished Alonso’s own dancing. For the ballerina, this was more than just an element of her individual style: it was an expression of the Cuban cultural environment and a common feature among ballet dancers from the island. In addition to elucidating the physical manifestations of musicality in Alonso’s dancing, this article examines how the ballerina’s frequent references to music in connection to both her individual identity and the Cuban ballet aesthetics fit into a national discourse of self-representation that deems Cubans an exceptionally musical people. This analysis also problematizes the Cuban ballet’s brand of musicality by underscoring the tension between its possible explanations—from being the result of the dancers’ socialization into a rich Afro-Caribbean musical culture to being a stylistic element that Alonso developed though her training with foreign teachers and, in turn, transmitted to her Cuban disciples.

Lectura de la performance y video de Mima, Ñam-Ñam en el contexto de los efectos y consecuencias del huracán María. Se trata de una meditación sobre la vida sensible y poética del litoral que el video-canción trabaja en su re-edición e interpretación del poema de Luis Palés Matos.

El artículo analiza la musicalización de la ficción presente en Vals de Francesc Trabal, considerada su obra maestra. El artículo sugiere una lectura diferente de la novela a partir del concepto de intermedialidad y mediante dos ejes: la imitación y la tematización (paratextual, contextual y intratextual). De esta manera se observa que la relación entre esta ficción musicalizada y la noción de ironía metaficcional es muy estrecha y ayuda a entender el juego lúdico establecido por Trabal. Palabras clave: Ironía; intermedialidad; musicalización de la ficción; Francesc Trabal.

Abstract: This paper analyzes the musicalization of the fiction present in Vals, the most valued novel of Francesc Trabal. The present article suggests a different reading of this novel based on the concept of intermediality and through two axes: imitation and thematization (paratextual, contextual and intratextual one). In this sense, a very close relation between this musicalized fiction and the notion of metafictional irony is observed and it helps to understand the ludic proposal established by Trabal.

The aim of this paper is to interpret the references to musical construction (“musicality III”, according to Andrzej Hejmej) in Paweł Huelle’s novel Śpiewaj ogrody (“Sing Gardens”). Both the plot (parts by the narrator and characters of the novel) and structure of this work seem to indicate Huelle’s great inspiration with the technique of Richard Wagner (the technique of leitmotif, idea of never-ending melody). The first part of this article indicates and comments on the excerpts from the novel with references to the issue of musical construction, while the second part concentrates on identifying and characterising chosen leitmotifs, from which this “literary score” is built. The paper ends with reflections on interrelations between given threads of the history described in Śpiewaj ogrody.

Here we present two unpublished essays by Hubert Jennings about the challenges of translating the poetry of Fernando Pessoa: the first one of them, brief and fragmentary, is analyzed in the introduction; the second, longer and also covering issues besides translation, is presented in the postscript. Having as a starting point the Pessoan poem “O que me doe” and three translations compared by Hubert Jennings, this presentation examines some aspects of poetic musicality in the Portuguese language: verse measurement, stress dynamics, rhymes, anaphors, and parallelisms. The introduction also discusses how much the English versions of the poem, which are presented by Jennings, recreate (or not) the musical-­‐‑poetic dimensions of the original text.

El presente texto pretende aportar a la discusión sobre la multimusicalidad al exponer aspectos de su desarrollo en intérpretes que se desempeñan en “grupos de secuencias” en Cali, Colombia. Se trata de un formato que combina archivos de audio, instrumentos y voces en vivo, característica que les permite extrapolar las fronteras de un solo tipo de música y abarcar una amplia gama de géneros musicales de los que interpretan hits y canciones de moda. Este estudio parte de un abordaje interdisciplinar de la sociología de la interacción social y la etnomusicología. Se basa en la realización de una etnografía en la que la autora participa como flautista en varios grupos con el fin de comprender los desafíos del oficio. La reflexión se alimenta de las experiencias previas en las que la investigadora participa en varios grupos musicales de diferente tipo junto a músicos que integran grupos de secuencias. Se evidencia que la multimusicalidad se desarrolla en medio de un contraste paradójico: por un lado, los músicos deben conocer un vasto repertorio y manejar adecuadamente los parámetros estéticos de diferentes músicas y por el otro, esto es posible gracias a que, se interpreta sobre archivos de mp3 y MIDI que reemplazan los instrumentos faltantes de cualquier formato. Finalmente se hace énfasis en la limitación de la categoría de género musical para analizar algunas prácticas musicales en la contemporaneidad.
http://www.abet.mus.br/portfolio/vii-encontro-nacional-da-abet-florianopolis-2015/

Jan Lechoń was a poet who actively used memory motifs in his works. These threads were very often correlated with musical and sound themes. First, this article is an attempt to show how Lechoń constructed specific models of cultural memory, in which musical reminiscences played an important role. Secondly, the text shows a lot of evidence that the main method of building musical and literary dependencies that Lechoń used was the Musicality II specified by Andrzej Hejmej, consisting in treating music as an element of a larger topic. Music in Lechoń’s poetry is not always treated as a value in itself. The poet often treats music, e.g. the theme of a concert or playing an instrument, as a pretext to show other content, especially those that are important to Polish cultural memory.

In what ways does the form of staged theatre limit its radicality, and how might this be addressed through practices typically associated with other artistic fields? The director's task is to recreate life, its movement, its contradictions, its dynamics and conflicts. It is his duty to reveal every iota of the truth he has seen, even if not everyone finds that truth acceptable. Of course an artist can lose his way, but even his mistakes are interesting provided they are sincere. For they represent the reality of his inner life, of the peregrinations and struggle into which the external world has thrown him. –Andrei Tarkovsky 1 There is no 'there', no time anywhere, and no real anymore… What to do? The eighties legacy has left us with no sense of place, as all spaces, in an attempt to cover for one another, seek to repeat the boring sameness of their utter muteness. Perhaps this is a screen for those older spatial paradigms that lent the machine its form – a mechanical system of moving, seeable parts – and an attempt to create those 'naked spaces' where what is really 'in there' – the transfer of information as it speeds through the city – will finally show itself. The question becomes how to give form to what is often invisible?

The abundant use of musical terms as prestige words in artistic and educational theatre discourses seems to indicate that musicality – in some sense of the word – is generally considered an important quality in acting. Music is part of the curriculum of the BA programme in acting at Malmö Theatre Academy. However, the students’ musical backgrounds are extremely heterogeneous. Further, it is my experience as a theatre musician that professional actors often lack self-confidence regarding musical tasks. When teaching music at Malmö Theatre Academy I have thus considered a sufficient musical self-confidence to be an important general purpose of the actor’s musical education. I have developed teaching methods in order to cope with the heterogeneity in the students’ musical background and at the same time utilize their shared interest in and aptitude for teamwork and textwork. Students are given the opportunity to develop their musical creativity by carrying out composition exercises.
The aim of this study is twofold. Its first part consists of a description of the author’s teaching methods focusing on composition exercises. The second part of the study presents an evaluation and discussion of how acting students perceive these methods and exercises.
The music composing exercises in question use text as a point of departure. After a number of preliminary exercises, the students carry out more extensive tasks during their second term of study. Everyone sets music to a text (most often a poem) of their own choice. The result is a number of songs which are subsequently rehearsed, performed and recorded by the composer together with a number of fellow students.
Interviews with students point unanimously to a significantly improved musical self-confidence as a consequence of the composition exercises. The students describe their relation to music as having become more independent and less respectful. While enhancing the ability to produce a coherent musical structure as well as the ability to communicate in music and about music, the exercises have also diminished the students’ fears of performing music together and in front of others. Sets of problems associated with composing are further expounded in the interviewees’ individual descriptions of their respective creative processes.
In the concluding discussion of the study, some fields for further research are outlined, one urgent future investigation being a qualitative study of professional actors’ views on how music, musicality, musical experience and self-confidence relate to their work.
Key words:
Composition, composition exercises, acting, theatre, musical self-confidence, creative processes.

À partir de la littérature arabe médiévale, nous proposons d’examiner la fonction sociale, religieuse et politique de la polyphonie dans les cérémonies à La Mecque à la fin du Moyen Age. La fanfare, les sermons, les prières quotidiennes, l’appel à la prière et la lecture des différents décrets construisaient un paysage sonore rythmant la Cité Sainte. Ces sonorités étaient structurées, réglementées et s’enchaînaient en fonction des rites et des moments dans des espaces précis (minbar, dôme du puits de Zamzam, station d’Ibrāhīm, etc.). Cette musicalité publique était ainsi élaborée autour d’acteurs majeurs (autorités politiques ou religieuses, musiciens, pèlerins, etc.) qui cristallisaient par leurs voix et leurs instruments, l’attention d’un public témoin d’une dynamique sonore structurelle. Le rythme de leurs interventions créait une forme d’itinérance des sons à travers divers endroits de la Cité. De ce fait, comment la littérature arabe médiévale met-elle en scène cette musicalité publique rituelle à la fonction sociopolitique avérée à La Mecque ?

Light is a major visual element in theatre but remains subordinated to texts in dramatic theatre. With the development of the concept of postdramatic theatre, the potentialities of light in theatre, particularly the musicality of light, open up. In this paper, I examine the interrelationship among light, music and theatre, as well as the role of the musicality of light as a concept, model and method on expanding the notion of theatre, through review of and reflection on the creative processes and workings of three original theatre, performative installation and Cantonese opera productions. The experimental exploration on the musicality of light in a cross-disciplinary and cross-media context re-considers the dynamics between theatre and music in contemporary theatre.

The study investigated the prevalence of fear and hyperacusis and the possible connections between fear, hyperacusis and musicality in a Swedish sample of individuals with Williams syndrome (WS). The study included 38 individuals and a cross-sectional design, with no matched control group. Two persons, who knew the participant well, completed a questionnaire. On reported fears, 58% of the participants scored higher than +2S.D., compared to a psychometric study. Thirteen percent scored above the suggested cut-off for hyperacusis, compared to 2.5% in a psychometric study. Female participants generally had higher reported fears and hyperacusis compared to male participants. There were also startling findings of correlations between reported fears and hyperacusis. This preliminary report supports a hypothesis that fears and anxiety could be associated with hyperacusis in the WS population. A hypothesis that musicality could serve as a protective factor and prevent anxiety, received no or very limited support. A hypothesis that hyperacusis could be connected to a general, readily arousal, tendency in the sympathetic nervous system and could be seen as vulnerability for psychopathology is discussed. #