Musical Ekphrasis in Rilke’s Marien-Leben

Bruhn, Siglind

doi:10.1163/9789004333819_021

Cited by 5 publications

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“…2, drawing extensively upon Cardew's Treatise Handbook (1971), identifying and extrapolating tendencies of musical-graphical translation and focussing on the use of major and minor triads and their deformation using geometric concepts of 'perfection' and 'imperfection'. Finally, the article considers the implications of this work both for Cardew and for the aesthetics and wider study of graphic score readings, briefly offering a reflection upon the concept of isomorphism in Ludwig Wittgenstein's picture theory (building upon Cline 2020) in relation to the rhetorical notion of ekphrasis (Bruhn 2000) as a means of explaining the uneasy position that this piece occupied for Cardew, read through the lens of camouflage.…”

Section: Notesmentioning

confidence: 99%

Cornelius Cardew's Camouflage and Bun No. 2

Metcalf¹

2023

Music Analysis

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Section: Notesmentioning

confidence: 99%

Cornelius Cardew's Camouflage and Bun No. 2

Metcalf¹

2023

Music Analysis

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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%

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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“…The work we both do to incorporate poetry into our research is, of course, built on the work of many others over time (many of whom are in this book). In the last 30 years, qualitative research methods have both changed a great deal and gained significant status (Denzin & Lincoln, 1999, 2000, 2011. In this, the field of qualitative inquiry and the study of research methods have been recognised as significant fields of study in and of themselves.…”

Section: The Field Of Research Poetry and Educationmentioning

confidence: 99%

“…One age-old poetic strategy being increasingly used is that of Ekphrasis, traditionally a Greek practice of transforming visual art into verbal (Craven, 2018). Ekphrasis engages scholars in writing poetic responses to an aesthetic form through interpretive practices (Kulnieks & Young, 2014;Maddison-MacFayden, 2013;Craven, 2018;Bruhn, 2000). Prendergast (2004) defines Ekphrasis as a method to "draw out or make clear" (p. 3).…”

Section: The Field Of Research Poetry and Educationmentioning

confidence: 99%