En el artículo titulado “El cante, la voz”, escrito en conmemoración del vigésimo quinto aniversario de la peña El Taranto de Almería, José Ángel Valente esboza una suerte de poética del cante jondo ...en su relación con la palabra. De ella se desprenden algunos de los elementos fundamentales que ese fondo de lírica primitiva vino a dejar en su obra, resultado de la unión entre lo popular y lo culto. En la primera parte de nuestro estudio analizaremos las claves de esa poética. Seguidamente, se revisarán los diferentes acercamientos que desde la órbita del cante jondo se han hecho a la poesía de Valente y nos detendremos en el que es el trabajo más completo editado hasta el momento: el de la cantaora Sonia Miranda. En su álbum 9 cantares, título que recoge el de la composición inédita que Valente entregara en 1988 a sus amigos de la peña El Taranto, Miranda rinde homenaje al poeta en conmemoración del vigésimo aniversario de su muerte. En él musicaliza una decena de textos, algunos de ellos en verso, otros en prosa, que nos ofrecen una buena muestra del enorme caudal lírico que confluye en una obra que, pese a haber sido calificada de hermética, o precisamente por ello, encuentra en lo más oscuro de sí el misterio de su encarnación, esa voz hecha canto que nace de la propia esencia de su poesía. A partir del concepto de “expansión” descrito por Dalmonte (2002), y con la música como puerta de entrada a lo poético, se analizarán en esta última parte cinco de las canciones del disco de Miranda, poniendo el énfasis en los aspectos rítmicos del texto que con mayor fuerza emergen en el proceso de adaptación del poema a la letra cantada.
Dentro de la larga tradición que estudia las relaciones entre poesía y música, en este artículo se abordan las musicalizaciones de poemas de cinco poetas icónicos de la Edad de Plata –Antonio ...Machado, Juan Ramón Jiménez, Federico García Lorca, Rafael Alberti y Miguel Hernández– y las versiones hechas posteriormente a partir de las canciones originales, como herramienta para analizar la recepción de textos literarios en la actualidad. Después de un breve repaso histórico desde comienzos del siglo xx hasta el fin del franquismo, se presta atención a la manera en que se percibe la poesía a través de la música en la sociedad de consumo posmoderna.
In this article I investigate how my own directorial influences are infiltrated and disseminated in the teaching of theatre directing. My own studies and background in music composition have shaped ...the way I direct and teach, allowing musicalisation to provide an additional semiotic dimension in directing. Here, I offer notes for the director as composer and propose a ten-part approach to teaching theatre directing as composition, employing musicalisation and transformative mise-en-scène as the two main axes of the students' pedagogical journey. The study will explore a series of exercises associated with each one of the ten parts and present a review of various directing strategies juxtaposed with appropriate contemporary case studies. Critical perceptions of the theatre directing landscape have shifted substantially in recent years, as can be seen in Radosavljevic's work on the heterarchical director (
2019
) and Sidiropoulou's work on rethinking authority, creativity and authorship (
2020
). Thus, the ten principles will introduce essential aspects of the work of prominent directors related to musicality and transformative mise-en-scène, such as tacit knowledge/forensic analysis (Katie Mitchell), musicalisation (Eugenio Barba, Rebecca Frecknall), musical knowledge (Yaël Farber), performative scenography and its relationship to musicalisation (Robert Lepage), sharpness and pace (Clint Dyer), playfulness (Emma Rice) and compositional freedom within a structure (Ivo van Hove).
The present article examines a teaching experiment undertaken by the author in order to point out not only the importance of the arts and aesthetics, but also their limitations. It also argues that, ...despite these limitations, the spirit of the arts opens us up to freedom and flexibility. Their purpose is not to give answers or solutions, but to make us question the most troubling aspects of our existence. The last chapter of Aldous Huxley's novel Point Counter Point invites an approach that should do justice to its musical qualities. Apart from borrowing the counterpoint technique from music, it also references music, therefore lending itself to performance, which renders its dramatic force with a strong impact upon readers. (DIPF/Orig.).
Monitoring and visualisation tools are currently attracting more and more attention in order to understand how search spaces are explored by complex optimisation ecosystems such as parallel ...evolutionary algorithms based on island models. Multilevel visualisation is actually a desirable feature for facilitating the monitoring of computationally expensive runs involving several hundreds of computers during hours or even days. In this paper we present two components of a future multilevel monitoring system: MusEAc, a high level, audio monitoring allowing to listen to a run and tune it in real time and GridVis, a lower lever, more precise
a posteriori
visualisation tool that lets the user understand why the algorithm has performed well or bad.
Monitoring and visualisation tools are currently attracting more and more attention in order to understand how search spaces are explored by complex optimisation ecosystems such as parallel ...evolutionary algorithms based on island models. Multilevel visualisation is actually a desirable feature for facilitating the monitoring of computationally expensive runs involving several hundreds of computers during hours or even days. In this paper we present two components of a future multilevel monitoring system: MusEAc, a high level, audio monitoring allowing to listen to a run and tune it in real time and GridVis, a lower lever, more precise a posteriori visualisation tool that lets the user understand why the algorithm has performed well or bad.
Monitoring and visualisation tools are currently attracting more and more attention in order to understand how search spaces are explored by complex optimisation ecosystems such as parallel ...evolutionary algorithms based on island models. Multilevel visualisation is actually a desirable feature for facilitating the monitoring of computationally expensive runs involving several hundreds of computers during hours or even days. In this paper we present two components of a future multilevel monitoring system: MusEAc, a high level, audio monitoring allowing to listen to a run and tune it in real time and GridVis, a lower lever, more precise a posteriori visualisation tool that lets the user understand why the algorithm has performed well or bad.
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