A Concert of Paintings: “Musical Ekphrasis” in the Twentieth Century

Bruhn, Siglind

doi:10.1215/03335372-22-3-551

Cited by 35 publications

(6 citation statements)

References 18 publications

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“…The square is also reproduced in the prologue of Manoury's score, a fact which suggests a much deeper relationship between the engraving and the music than simply a paratextual (Genette 1982) connection of the titles. As our analyses will demonstrate, Manoury's use of Dürer's square could be regarded as a particular case of musical ekphrasis (Goehr 2010), following a large tradition of musicians’ comments on paintings, from the past to the twentieth and twenty‐first centuries (Bruhn 2000 and 2004).…”

Section: Platementioning

confidence: 99%

From Dürer's Magic Square to Klumpenhouwer Tesseracts: On Melencolia (2013) by Philippe Manoury

Besada¹,

Guichaoua²,

Andreatta³

2022

Music Analysis

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Many Western art music composers have taken advantage of tabulated data for nourishing their creative practices, particularly since the early twentieth century. The arrival of atonality and serial techniques was crucial to this shift. Among the authors dealing with these kinds of tables, some have considered the singular mathematical properties of magic squares. This paper focuses on a particular case study in this sense: Philippe Manoury's Third String Quartet, entitled Melencolia. We mainly analyse mainly several strategies conceived by the French composer – through his own sketches – in order to manipulate pitches and pitch‐classes over time. For that purpose, we take advantage of Klumpenhouwer networks as a way to settle wide and dense isographic relationships. Our hyper‐K‐nets sometimes reach a total of 32 arrows that allow geometrical arrangements as tesseracts in which their different dimensions cluster related families of isographies. In doing so, we aim to provide an instructive example of how to contextualise K‐nets and isographies as powerful tools for the analysis of compositional practices.

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Section: Platementioning

confidence: 99%

From Dürer's Magic Square to Klumpenhouwer Tesseracts: On Melencolia (2013) by Philippe Manoury

Besada¹,

Guichaoua²,

Andreatta³

2022

Music Analysis

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“…For a deeper discussion on the issue of ekphrasis, see Davidson [1983], Heffernan [1991], Krieger [1967], and Webb [2013]. 5 The concept of musical ekphrasis has been discussed extensively by Goehr [2010] and Bruhn [2001].…”

Section: Musical Ekphrasismentioning

confidence: 99%

Symbolic Musical Resynthesis as an Ekphrastic Compositional Practice Using Computational Methods

Vassallo

2023

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In my artistic work, I explore the affordances of computational methods from the discipline of artificial intelligence for music composition. Grounded in philosophical perspectives that revolve around the notions of trans- and post-humanism and cybernetics, I understand the mediating role of computers in music composition as having the potential to expand a composer’s creative process by providing him with novel ways of exploring relationships between musical material and structure. Under this premise, music composition becomes a process that occurs through the assemblage between human actors and technological artifacts, and this association should result in new, interesting, and valuable artistic works. In this text, I will discuss a personal compositional practice that I understand as ekphrastic, based on the notion of symbolic resynthesis of musical symbolic information employing computational methods, as means for composing an original piece in response to the madrigal “Io Mi Son Giovinetta” by Claudio Monteverdi.

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“…One may refer such an action to the definition of musical ekphrasis proposed by the German-born American researcher Siglind Bruhn, who postulated that musical works were musical representations of verbal works and works of plastic art Bruhn (2000), Bruhn (2001): 560. Revising this notion, Monika Karwaszewska proposed an antonymic neologism, artistic inphrasis, aimed at choreographic and visual reflection of the musical layer, which is the original.…”

Section: Artistic Inphrasis the Choreographic Setting Of Music And Da...mentioning

confidence: 99%

“…By retaining the title, she 'automatically sends the spectator back to the work that he or she interprets, transferring it from one sign system to another ' Drajewski (2017): 260. The choreography presents the transmedialization by association Bruhn (2001): 586-587 in connection with the title itself and with the reception of Adès's composition, which will be passed on to the spectator.…”

Section: Thomas Adès's 'O Albion' the Musical Form Versus The Assumpt...mentioning

confidence: 99%

Intermedia Narrative and Perceptio Sensatio in Music Choreography

Karwaszewska,

Oryl

2023

ShodhKosh J. Vis. Per. Arts

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The aim of the article is to consider the question: what do technological innovations bring to creative activities, so that we can see in them a new way of creating, and how does a work of multivariate nature affect the viewer, evoking in him/her a peculiar perceptio sensatio.The article presents an intermedia project based on distributed authorship, resulting from the collaboration of a music choreographer, a visual artist and a music theorist. Each of these people brings a different perspective and creation to the project, which integrates the guiding idea of "hearing and seeing" music, and even experiencing it multisensorially.Syncretic activities on the borderline of composition, improvisation and interpretation of music and its choreography, as well as the conscious use of audiovisual objects, expand the fields of artistic activity to reach the audience through multiple channels of sensory perception. The spectator does not perceive isolated fields, because the sensory world is a synthesis of different fields of perception. The same object that we see, we can touch, can be a source of sound and smell. In this constellation, the intermedia narration of the work is not only an experiment that influences the attractiveness of the musical choreography presented, but also an object of research into a new language, the use of which expands the concept of thinking about the form of the composition presented. The amplified dimensions of the work's reception make it an attractive form of expression, which at the same time becomes an artistic-cognitive hybrid.

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A Concert of Paintings: “Musical Ekphrasis” in the Twentieth Century

Cited by 35 publications

References 18 publications

From Dürer's Magic Square to Klumpenhouwer Tesseracts: On Melencolia (2013) by Philippe Manoury

From Dürer's Magic Square to Klumpenhouwer Tesseracts: On Melencolia (2013) by Philippe Manoury

Symbolic Musical Resynthesis as an Ekphrastic Compositional Practice Using Computational Methods

Intermedia Narrative and Perceptio Sensatio in Music Choreography

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