In this article we propose to analyze some aspects related to the interpretive process that occurs within the Marching Band of the Academy of Music, Theatre and Fine Arts. The repertoire approached, ...varies from works of popularity and entertainment, to those of academic creation. However, dominant for this type of fanfare are academic productions from different periods of music history. The interpretative act, for the most part, reflects the type of creation approached and is directed towards the full rendering of the content and stylistic specifics of the work. The operation of the interpretation sums up several essential factors, which are in a mutual interdependence, namely: the style and genre of the creation, historical period, personality of the actor, arrangement, the actions of the conductor, the psycho-emotional atmosphere, the level of instruction of the students.
Transforming Vòdún examines how musicians from the West African Republic of Benin transform Benin’s cultural traditions, especially the ancestral spiritual practice of vòdún and its musical ...repertoires, as part of the process of healing postcolonial trauma through music and ritual. Based on fieldwork in Benin, France, and New York City, Sarah Politz uses historical ethnography, music analysis, and participant observation to examine three case studies of brass band and jazz musicians from Benin. The multi-sited nature of this study highlights the importance of mobility, and diasporic connections in musicians’ professional lives, while grounding these connections in the particularities of the African continent, its histories, its people, and its present.
Transforming Vòdún examines how musicians from the West African Republic of Benin transform Benin's cultural traditions, especially the ancestral spiritual practice of vòdún and its musical ...repertoires, as part of the process of healing postcolonial trauma through music and ritual. Based on fieldwork in Benin, France, and New York City, Sarah Politz uses historical ethnography, music analysis, and participant observation to examine three case studies of brass band and jazz musicians from Benin. The multi-sited nature of this study highlights the importance of mobility, and diasporic connections in musicians' professional lives, while grounding these connections in the particularities of the African continent, its histories, its people, and its present.
Fanfare as Fulcrum Yorgason, Brent; Lyon, Jeff
Music theory online,
06/2020, Volume:
26, Issue:
2
Journal Article
Peer reviewed
Open access
Max Steiner’s fanfare for Warner Brothers (WB), which was used to introduce most of the studio’s films during the years 1938–1955, is unique in that is does not have a clearly defined ending. ...Continuing directly into the opening title sequence, the fanfare leads to a wide variety of themes in different keys, meters, and tempos, and with quite different characters. The “pivotal event” that helps to set the tone for the rest of the film occurs right at the moment of the fanfare’s resolution.
In this corpus study, we examine eighty-eight films scored by Steiner that use the WB fanfare, with a particular focus on harmonic and melodic resolutions at the fanfare’s point of arrival. We find that Steiner devised at least fifty-three different resolutions for the end of the fanfare—some of them quite surprising and dissonant. Each of these resolutions creates a different emotional effect, communicating to the listener what the genre and tone of the film might be. We also examine the function of the transitional music that is set in motion by the fanfare’s resolution and its connection with visual cues in the film.
Seduced into applying to Cranbrook by an inspiring lecture given by alumnus Joseph Wong about his experience there during Daniel Libeskind's time, artist, designer and teacher Yu‐Chih Hsiao's world ...expanded upon his arrival. It incorporated all manner of creative output under the enigmatic yet highly practical Head of Architecture/Architect‐in‐ Residence William E Massie, and so a course was charted that still resonates today in Yu‐Chih's work.
Cette thèse vise à établir différentes relations et différents liens musicaux, ainsi que des évolutions, dans le cadre de la guerre antique, en d'autres termes, il s'agit d'établir des parallèles ...entre la musique militaire et d'autres musiques guerrières. Pour ce faire, elle se concentre en priorité sur la musique militaire qui forme le fil conducteur de l'ouvrage. On étudie en particulier beaucoup la musique de trompette, en se posant les questions suivantes : la musique militaire a-t-elle pu être à l'occasion artistique ? A-t-elle pu servir à se détendre ? Quelles sont les constantes et les évolutions de la musique militaire et des instruments de musique militaire au cours de l'antiquité grecque et romaine ? A cette fin, toutes les sources anciennes qui traitent de la musique en général et de la musique militaire sont mentionnées. Les sources historiques et philosophiques sont prises aussi en considération, ainsi que les traités de musique (Aristide Quintilien, Philodème de Gadara). Les instruments sont passés en revue : trompette, aulos et tibia, lyre et orgue hydraulique. Un chapitre est consacré aux musiciens de l'armée et aux guerriers musiciens. Les hymnes delphiques d'Athénaios et de Liménios sont étudiés, ainsi que le fragment épique d'Oslo.
This thesis aims to define different relations and different musical links, and some evolutions as well, in the framework of the ancient war, in other words, it means to establish parallels between military music and other warlike musics. For that, this thesis focuses principally to military music which forms the principal line of the work. We particularly study a lot of trumpet's music, and we answer or define the following questions : had military music been for occasions artistic music? Or music for relaxation? What are the common points and evolutions of military music and military music instruments along greek and roman antiquity?To treat these subjects, all the ancient sources which are concerned by antic music generally and military music particularly are mentioned. Historic and philosophic sources are taken in consideration too, and musicologic books as well (Aristide Quintilien, Philodème of Gadara). Music instruments are studied : trumpet, aulos and tibia, lyre and hydraulic organ. A chapter is dedicated to the warfare musicians. The delphic hymns of Athenaios and Limenios are studied, and the epic fragment of Oslo as well.
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