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| 2. |
- Knust, Martin, 1973-
(författare)
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Sprachvertonung und Gestik in den Werken Richard Wagners : Einflüsse zeitgenössischer Rezitations- und Deklamationspraxis
- 2007
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Richard Wagner besaß eine eminente schauspielerische Begabung, war aber physisch für die professionelle Schauspielerlaufbahn ungeeignet. Er kompensierte diese Verhinderung auf mehrere Weisen: Zum einen las und sang er sehr gerne dramatische Texte vor. Zum zweiten betätigte er sich als Regisseur, und zwar als erster Regisseur im modernen Sinne. Zum dritten hob er den Schauspielvortrag seiner Zeit – sowohl dessen akustische Komponente, die Sprechkunst, als auch dessen optische, die Gestik des Akteurs – in seiner Musik auf. Um diese Thesen zu erhärten, wird erstmals das gesamte dramatische Vokalschaffen Wagners analysiert, werden sämtliche Inszenierungen Wagners, sofern sie dokumentiert sind, rekonstruiert, seine theoretischen Schriften unter diesem Aspekt ausgewertet und, um sein Profil als Theaterrezipient herauszuarbeiten, alle überlieferten Theaterbesuche Wagners erfaßt. Dadurch wird eine – wenn man Wagners Zeitgenossen trauen darf – wesentliche Schicht seines Schaffens, die über ein Jahrhundert hinweg vergessen war, wieder freigelegt.
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| 4. |
- Bruhn, Jørgen, Professor, 1968-, et al.
(författare)
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Transmediation
- 2022
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Ingår i: Intermedial Studies. - New York : Routledge. - 9781032004662 - 9781032004549 - 9781003174288 ; , s. 138-161
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Bokkapitel (refereegranskat)abstract
- This chapter explores transmediation between qualified media types. It discusses the adaptation of a literary canonical work, Joe Wright’s 2005 novel-to-film adaptation of Jane Austen’s novel Pride and Prejudice a novel that repeatedly has been adapted into new contexts and audiences. The qualified medium of opera implies certain conventions but also certain limitations of space, time and voice. The natural venue for experiencing an opera is the stage. An experienced opera or musical librettist will consider where to put such music highlights when writing the text. Both drama text and opera score are a set of directions fixed in a script but resulting in different kinds of performances. It has been our aim to demonstrate in specific analysis the very abstract idea that all media transformation is interplay or a negotiation between transmediality and medium specificity.
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| 5. |
- Knust, Martin, 1973-
(författare)
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Fictionalizing Populism : A music analysis of recent political journalist soundtracks
- 2021
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Ingår i: Mobilis in mobile. - La Rochelle : Popular Culture Association of France. ; 1:1, s. 1-11
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Tidskriftsartikel (refereegranskat)abstract
- Le politique investit aussi les champs médiatiques des cultures populaires comme le démontre Martin Knust dans son article « Fictionalizing Populism : a music analysis of recent political journalistsoundtracks » dans lequel il s’intéresse aux fonds sonores et à leur rôle dans les émissions dejournalisme politique audiovisuel. Ainsi il explique combien ces musiques d’ambiance ont pour butd’influer sur l’opinion publique et s’apparentent ainsi à de la propagande.
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| 6. |
- Knust, Martin, 1973-
(författare)
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The Stage Gesture of the Wagner Era
- 2019
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Ingår i: Mettere in scena Wagner. - Lucca : Libreria Musicale Italiana. - 9788870969795 ; , s. 37-48
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- During the last decades the historical informed performance practice has gained attention not only concerning music research but also concerning the other arts which are involved in performing music theatre. Among others, the light and stage design, including costumes, as well as the stage technology of the past has been investigated. What has been omitted is the body language of the actors which was very different from modern customs. Especially in the case of Wagner the role of the gesture is an important issue. Wagner had the habit to create his music often in close connection with the physical delivery of the singer. Some parts of his scores turn out to be enlarged contemporary theatre gestures and he was eager to rehearse the gestural embodiment of his characters thoroughly with his singers. For illustrating the historical distance of modern theatre to the gesture of the Wagner era, I will present musiciconographical, verbal and filmic sources which allow us to get a glimpse of the performance practice in the 19th century. Understanding the characteristics of 19th-century acting means to understand both central aspects about the shape and the aesthetics of Wagner’s works.
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| 7. |
- Knust, Martin, 1973-
(författare)
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Wagner and the North : Editor’s Preface
- 2021
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Ingår i: Wagner and the North. - Helsingfors : Sibelius Academy. - 9789523291577 ; , s. 9-13
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 8. |
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Wagner and the North
- 2021
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- This volume presents Wagner’s impact on music performers, composers, writers and stage directors in the European North from different angles and takes a glance on his championship of Nordic mythology apart from the well-known sources. The essays collected in it focus on two main geographic areas – Sweden and Finland – but include examples from other Northern countries as well. Wagner’s relation to the North, though being mediated through art and literature rather than his own experiences, has been dealt with extensively in Wagner research. This does not apply when looking in the opposite direction. How did the cultural life in the North respond to Wagner’s works? The essays in this book describe, document and interpret what the North’s relation to Wagner became like in the beginning, how it developed until present day, how it distinguished itself from other parts of the world and how the introduction and impact of his works differed within the European North.
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| 10. |
- Jensen, Signe Kjaer, 1987-, et al.
(författare)
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Media and Modalities : Music
- 2022
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Ingår i: Intermedial Studies. - London : Routledge. - 9781032004662 - 9781032004549 - 9781003174288 ; , s. 56-68
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Bokkapitel (refereegranskat)abstract
- This chapter discusses the characteristics and communicative conventions that qualify Western art music, popular music and folk music. Despite major differences in the traditions of these qualified media types of music and the emphasis they put on musical notation and performance, they all share certain characteristics that relate to technical media of display and their basic media types. When we listen to sounding music, the technical media of display are sound waves that are realized via instruments and singers in a live performance or via electric speakers. The sounding music that is performed and the written sheet music both play an important part in this qualified media type of music. Where auditive text and organized sound really differ in terms of modalities is in the semiotic modality. The listener responds physically to the sounds and at the same time responds to them in the semiotic modality and transforms them into some form of subjective meaning.
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