Varieties of Independent Music Theatre in Europe

Rebstock, Matthias; Brauneck, Manfred

doi:10.14361/9783839432433-007

Cited by 2 publications

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“…As mentioned earlier, the diagnosed premiere-based culture, where there is a large emphasis placed on the presentation of new works, presents a difficulty for new operas to make it into the opera repertory, which in turn reinforces the wellensconced repertoire even more. However, while there are some works that would benefit from being restaged on opera stages (inasmuch as this is at all possible), for the most part the productions under DOMTS fit more into an independent music theatre genre, or a performative approach to music theatre (see Rebstock 2017).…”

Section: Number Of Co-producers Of Biennale Productionsmentioning

confidence: 99%

Curating Contemporary Music Festivals

Farnsworth¹

2020

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or Silvia Berchtold.I would also like to thank Gender Relations in New Music, the entire team of the Munich Biennale, and the Staatsbibliothek zu Berlin for their support. This work is an adaptation of the dissertation "Curating Festivals for Contemporary Music" submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at the Hochschule für Musik Carl Maria von Weber Dresden.With support from the Zurich University of the Arts, Institute for Theory. Bibliographic information published by the Deutsche NationalbibliothekThe Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contacting rights@ transcript-publishing.com Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. The obligation to research and clear permission lies solely with the party re-using the material.

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Section: Number Of Co-producers Of Biennale Productionsmentioning

confidence: 99%

Curating Contemporary Music Festivals

Farnsworth¹

2020

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Live Coding in Music Theater—A Comprehensive Technique? The Case ofDumrul and the Grim Reaper

Artut

2023

Leonardo

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In this article, the play Dumrul and The Grim Reaper is analyzed as a case study to explore the possibilities of live coding in the context of a music theatre. The live coding method, which focuses on a single main application window, allows one to effectively execute several distributed tasks together such as music composition, sound design, sound effects, and musical performance in real-time without losing track of the flow of the theatrical text. In terms of the compositional approach, live coding will be proposed as a holistic sound and music creation technique that centers on the use of textual systems to depict elaborate forms of artistic expression.

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Varieties of Independent Music Theatre in Europe

Cited by 2 publications

References 0 publications

Curating Contemporary Music Festivals

Curating Contemporary Music Festivals

Live Coding in Music Theater—A Comprehensive Technique? The Case ofDumrul and the Grim Reaper

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