bandeau actu

Actualités musicales

2 avril 2013

saxophone

2 avril 2013Music, Semiotics, and Intermediality : XIIth Congress on musical Signification

Costantino C. M. Maeder, Mark Reybrouck, André Helbo, Eero Tarasti

Catholic University of Louvain, The Royal Academy for Science and the Arts of Belgium. Louvain-la-Neuve, April 2 and 4 – 6, Brussels April 3, 2013.

Music plays a decisive role in intermedial phenomena as opera, theater, television, advertising, interactive websites, and so on. Even experiencing a sonata or a Lieder Cycle in a concert is intermedial (the performance, the context of the performance, the shared experience of the audience, etc.). In this conference, we will deal with the complex and enigmatic interaction of
music, language, acting, performance and surrounding events as well as with the immediate, comprehensive, all encompassing, sometimes selective response by the audience to these very complex intermedial events.

Semiotics offers important instruments when dealing with these phenomena. This conference will focus on how and why music is composed and experienced within an intermedial framework. Our aim is to foster a better and comprehensive understanding of how music works semiotically.

Let us exemplify the ideas developed above: a competent poet writes a libretto. But, his libretto is not only a literary outline: it contains a projection of possible musical scores and dramatic performances. He distributes his plot on different segments (recitative/versi sciolti, tempo d'attacco, cantabile, tempo di mezzo, cabaletta, all differentiated metrically) according to his estimation of what music is able to express,but as well according to what a spectator will be able to experience immediately. A composer reads and interprets this libretto.

His composition offers a new reading of the libretto, according to his own intentions and experiences, and own view about literature. In doing so, he also imagines what his audience will be able to experience. The resulting score can differ sensibly from the poet's "virtual" scores and dramatic performances. A director, finally, will easily offer a mise en scène that rewrites the composer's and the poet's outlines and suggestions. His product makes also a statement about what music is in his eyes.

A spectator of film, opera, or advertisement, experiences music as a part of an organic whole, even without consciously listening to the score. Therefore, we cannot separate music from text, acting, drama, image, etc. In this sense, intermediality does not study theater, opera, or a music album as a mere aggregate of separate media. Many single components of an intermedial object are connected and interwoven, and imply and mirror the other constituents.

Possible themes, within this intermedial framework, include, but are not limited to:

Music in an intermedial context (opera, musical, theater, television, advertising, internet, video games, pop album, etc.).

Tension between traditional musicology with emphasis on structural approach to music (music as structure, score analysis) and sense-making by the listener (music as heard or music as experience) from a semiotic point of view.

The working of music within such a context as autonomous constituent (syntactics, semantics, etc.).

Link with central topics of the "International Project on Musical Signification": musical sense-making, narrativity, and reception.

Role of semiotic point of view: moving from syntactics over semantics (selfreflective or extramusical) to pragmatics (effect on listener).

Encompassing actual and emerging topics of music research such as music and emotion, music as experience, music and the body, musical universals, music and evolution.

Interdisciplinary and transdisciplinary approaches: bringing together traditional musicology, musical semiotics, cognitive sciences, and neurobiology.

Free topics: any paper related to Musical Semiotics.

Submission guidelines :

Please fill in our proposal template (on our website) and send it to us by email through this link before September 15, 2012.

Deadline: 15 September 2012

Registration Fees (before December 20, 2012):
Scholars: 250€

Phd Students (assistants, affiliated to an Institution or Research Unit): 150€ *

Phd Students (not affiliated) and Students: 50€ *

Bank account: details will be provided later on. Please, check our website.

Late Registration

A supplementary fee of 25€ will be charged after December 20, 2012.

Please consult regularly our website
The website will be updated regularly.

* In case of financial restrictions, please contact us. (studi-italiani@rom.ucl.ac.be)

 

2 avril 2013Amore contraffatto

 

amore contraffatto

 

Amore contraffatto : œuvres de Carlo Gesualdo et de Gianvincenzo Cresta. Ensemble XXI (Rachid Safir), Christophe Desjardins (viole). Digressione music 2012 (DCTT23).

La musique valant par ses interprètes, ce cédé ne peut être qu'un bon moment de musique à poser les yeux fermés sur son tourne-cédés. Formellement original, mais musicalement cohérent, il réunit des œuvres de Carlo Gesualdo né vers 1561 et de Gianvincenzo Cresta, né an 1968.

Le prince Carlo Gesualdo est connu pour avoir assassiné ou fait assassiner son épouse et l'amant de son épouse, et avoir ensuite passé le restant de ses jours enfermé dans son ténébreux château, l'affliction, les remords, la pénitence et la musique. (+) lire la suite

 

2 avril 2013À nos agendas

 

En un vergier où avoit mainte flour... Balade dans les jardins médiévaux à Lyon le 13 avril

Nouveaux instruments, nouveaux répertoires, nouvelles pédagogies, au Cdmc Paris le 18 avril

Académie d'été « Orgues et cimes » à Finhaut du 4 au 11 août 2013

Colloque international Henri Tomasi et la Méditerranée (appel à communications), 26-28 septembre 2013 à Marseille et Ajaccio

 

2 avril 2013Revue de presse musicale du 2 avril 2013

 

(L'Orient le jour) De Babylone à Sparte avec Alain Pâris...

(Culturebox) Robert Cray en tournée avec son dernier album «Nothin but love»

(AFP/Le Point) Opéra de Vienne: le chef d'orchestre Franz Welser-Most victime d'un malaise

(Culturebox) Feuilleton : la tournée européenne de l'Orchestre du Capitole (7/7)

(AFP/NVI) Julio Iglesias: «Je ne suis pas branché mais populaire»

À propos du site    S'abonner au bulletin    Collaborations éditoriales

logo musicologie
©musicologie.org 2013

 avril 2013 

L

M

M

J

V

S

D

1

2

3 4 5 6 7
8 9 10 11 12 13 14
15 16 17 18 19 20 21
22 23 24 25 26 27 28
29 30

Presse internationale

Petites annonces

Recherche dans musicologie.org

musicologie.org
56 rue de la Fédération
F - 93100 Montreuil
06 06 61 73 41

 

rectangle

rectangle