1. Oper und Drama (1851) Dichtkunst und Tonkunst im Drama der Zukunft

Wagner, Richard; Knaus, Jakob

doi:10.1515/9783111333823-002

Cited by 5 publications

(6 citation statements)

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“…In the middle of the 19th century, Richard Wagner proposed a novel approach to operatic composition, theoretically outlined in his writings such as Opera and Drama (Wagner, 1852). According to his ideas, the drama of the future should integrate all forms of art (Gesamtkunstwerk).…”

Section: Background and Related Workmentioning

confidence: 99%

Wagner Ring Dataset: A Complex Opera Scenario for Music Processing and Computational Musicology

Weiß,

Arifi-Müller,

Krause

et al. 2023

Transactions of the International Society for Music Information Retrieval

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This paper introduces the Wagner Ring Dataset (WRD), a multi-modal and multiversion resource on the large-scale opera cycle Der Ring des Nibelungen by Richard Wagner. The Ring comprises four music dramas organized into eleven acts and 21 939 measures in total. Concerning sheet music, we processed a publicly available piano reduction (822 pages) of the full score with optical music recognition followed by extensive manual corrections to create a high-quality, machine-readable symbolic score. Concerning audio data, our corpus covers 16 recorded performances of the full Ring (three of which are publicly available thanks to copyright expiry), each lasting about 14-15 hours. To musically synchronize these versions among each other, we manually annotated all measure positions for three performances, which we transferred to the remaining performances via automated synchronization techniques. The dataset further comprises annotations of key and time signatures, scenes, and singing voice regions (libretto). Moreover, we provide note event annotations for all performances derived from the piano score. The WRD thus constitutes a comprehensive resource for developing algorithms for various music information retrieval tasks, complementing existing datasets with a complex opera scenario. For computational musicology, the WRD serves as a structured dataset that allows for studying the composition and performances of the Ring.

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Section: Background and Related Workmentioning

confidence: 99%

Wagner Ring Dataset: A Complex Opera Scenario for Music Processing and Computational Musicology

Weiß,

Arifi-Müller,

Krause

et al. 2023

Transactions of the International Society for Music Information Retrieval

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“…Je weiter sich […] die Gebärde von ihrer bestimmtesten, zugleich aber auch beschränktesten Grundlage des Tanzes entfernt; je sparsamer sie ihre schärfsten Akzente verteilt, um in den mannigfaltigsten und feinsten Übergängen des Ausdruckes zu einem unendlich fähigen Sprachvermögen zu werden, -desto mannigfaltiger und feiner gestalten sich auch die Tonfiguren der Instrumentensprache, die, um das Unaussprechliche der Gebärde überzeugend mitzuteilen, einen melodischen Ausdruck eigentümlichster Art gewinnt, dessen unermeßlich reiche Fähigkeit sich weder nach Inhalt noch Form in der Wortsprache bezeichnen läßt, eben weil dieser Inhalt und diese Form durch die Orchestermelodie sich bereits vollständig dem Gehöre kundgibt, und nur noch von dem Auge wiederum empfunden werden kann, und zwar als Inhalt und Form der, jener Melodie entsprechenden, Gebärde. 10 Aber wie kann man sich diese Entsprechung vorstellen? Für Nietzsche ist in Menschliches, Allzumenschliches Musik zuerst »leeres Geräusch«.…”

Section: Gesten Ohne Gespürunclassified

Zum Konzept musikalischer Gestik

Peters

2022

GMTH Proceedings

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Wenn dir plötzlich ein Thema, eine Wendung, etwas sagt, so brauchst du dir's nicht erklären zu können. Es ist dir plötzlich auch diese Geste zugänglich.Ludwig Wittgenstein 1When hearing music as music, we hear motion in it, action even. Much of this action is gestural in quality. Richard Wagner's writings about musical gesture as intimately linked with dramatic gesture, speak of this quality. The corporeality implied in Wagner's understanding, however, has been largely abstracted away in music aesthetics and music theory since then. The dominant term in formalist analysis is Gestalt, namely, the structure of ideal motion. It appears devoid of the sensual, stripped of its actual bodily feeling and replaced by an act of imagination; in the music aesthetics of Carl Dahlhaus, Roger Scruton and Jerrold Levinson, and in the semiotic approach of Robert Hatten, for instance, the term gesture is retained, but conceptually limited to a metaphoric use: to talk of musical gesture there is to transfer its meaning from the domain of bodily expression. The latter concept does not explain how the transfer makes sense instead of being arbitrary to the musical experience (it only states that it does, and leaves the role of its apt application to the expert critic). My purpose in this text is to rethink the concept of musical gesture, integrate its actual sensual dimension, and hint at its rich potential for the analysis of music. I argue that the proprioceptivity of bodily gestures is extremely rich, spanning kinetic, haptic, topological, even emotional characteristics, all included in their understanding as felt in the lived body. Keeping this in mind, the audio-visual-tactile perception of one's gesture when making a sound oneself, by sliding one's hand over a piece of paper, say, provides the experiential backdrop to an empathic completion of a gesture as heard. A heard sonic shape thus becomes more than a Gestalt: it acquires a feel; ambiguous to some degree, but grounded in the very mundane experience of one's own very refined gestural repertoire. This widened concept, I argue, elucidates music as being something not only understood, but something grasped and felt. I show this elaborated concept of musical gesture to be relevant to the understanding of expressivity in large scale thematic variation, taking Brahms's Intermezzo op. 118,6 in E Minor as an illustration. Provided one views music as something that occurs in aesthetic experience, then gesture is here shown as intersubjective and musically immanent.

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“…Denn 66 Indirekt wurde hier darüber hinaus eine Neubestimmung des Staates angesprochen, der kirchliche Dogmen nur billigte, wenn sie seinem Gepräge, also dem Gepräge einiger Weniger entsprachen, nicht aber den Menschen insgesamt. Daher heißt es weiter: "Nur eine allgemeine Religion ist in Wahrheit Religion: verschiedene, politisch festgesetzte und staatskontraktlich neben-oder untereinandergestellte Bekenntnisse derselben bekennen in Wahrheit nur, daß die Religion in ihrer Auflösung begriffen ist."…”

Section: Wagners Religiöse Anschauungunclassified

Identitätsstiftung durch die Kunst. Richard Wagners attische Tragödie der Neuzeit

Pandey¹

2016

FeRA

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1. Oper und Drama (1851) Dichtkunst und Tonkunst im Drama der Zukunft

Cited by 5 publications

References 0 publications

Wagner Ring Dataset: A Complex Opera Scenario for Music Processing and Computational Musicology

Wagner Ring Dataset: A Complex Opera Scenario for Music Processing and Computational Musicology

Zum Konzept musikalischer Gestik

Identitätsstiftung durch die Kunst. Richard Wagners attische Tragödie der Neuzeit

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