| 1. |
- Belgrano, Elisabeth, 1970
(författare)
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'Lasciatemi morire' & 'Rochers vous etes sourds': interpreting Arianna's tears, sighs and pain by investigating Italian and French ornaments through vocal practice-based research
- 2009
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Ingår i: Singing Music from 1500 to 1900: style, Technique, Knowledge, Asssertion, Experiment. 7-10 juli 2009. National Early Music Association International Conference, University of York, UK.
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Konferensbidrag (refereegranskat)abstract
- ABSTRACT: In my PhD research I depart from a female singer’s perspective of interpreting 17th century opera laments , based on musicologist Mauro Calcagno’s statement signifying the voice of the female singer as a symbol of Nothing in association with the concept of aesthetics in the early 17th century opera genre . The female singer, he points out, justified the relevance of “pure voice” and “over-vocalization” referring to two recurring tropes, pronounced within a larger discourse among 17th century intellectuals in Italy and France, concerned with the concept of aesthetics: the concept of nothingness and the singing of the nightingale. In this presentation I show my perceptions of the voice of Arianna. My aim is to better understand the use of ornamentation in my performance of Italian and French 17th century vocal music. Knowledge of ornamentation can be obtained by investigating at depth the singer’s process from the first encounter with the text and musical score, to the actual performance of stage. There are two important aspects I take into consideration. First, the intellectual discourse, contemporary to the creations and performances of the two laments by Monteverdi and Lambert, carries a great deal of information significant to vocal interpretation. Second, the oriental ornamentation is reflected upon the arts and architecture in Venice during the 16th and 17th centuries, but has not yet been fully addressed in relation to vocal ornamentation in the 17th century opera repertory. I have been observing the life and career of Signora Anna Renzi Romana, one of the first opera prima donnas active in Venice during mid 17th century. Her interpretations of laments and mad scenes made a great impact on her audience as well and on the intellectual academies supporting the early operatic events in Venice. As the sounding voices of the Greek Sirens seducing Odysseus and his sailors , Anna Renzi and her female colleagues seduced their audiences in the Venetian opera theaters. Renzi’s performances are described in a volume published to her honor in 1644, “La Glorie della Signora Anna Renzi Romana”. In my research I explore and reflect upon the vocal sounds of ‘trillo’, ‘esclamazione’ and ‘coup de gosier’ by merging these vocal ornaments and my experience of PURE VOICE to theories of Nothingness, debated by Italian and French17th century intellectuals in Venice and Paris. I also combine their thoughts and theories to philosophical theories of Nothing referring to Jean-Paul Sartre and Marcia Ça Cavalcante Schuback . My personal experience of the lamenting sound is then analyzed along with the glorious description of Renzi’s performances of the laments. Finally in my search for sources of vocal ornaments, I listen to voices and vocal music from the ‘east’, following the 16th and 17th century Venetian trading routes. The Eastern throat–beating ornaments and vibratos appears similar to the ones described by 17th century composers and authors like Giulio Caccini and Benigne de Bacilly, and they inspire my research towards different possible ways of performing the sighs, tears and pains of Arianna. This research and presentation is part of my PhD research project“Passionate Women’s Voices on Stage and an Interpretation of the 17th Century Lamenti and Scene di Pazzie”. See: http://www.konst.gu.se/forskarutbildning/doktorander/Elisabeth_Belgrano/
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| 2. |
- Andersson, Anders-Petter, 1969-
(författare)
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"Shoot ’em up -musik" : om musikaliska strukturer för interaktivt berättande i tevespelet Rez
- 2003
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Ingår i: NM/T Nutida Musik/Tritonus. - 0029-6597. ; :2, s. 26-30
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Det musikdramatiska berättandet har idag lierat sig med nya medier och teknologier. Resultatet av detta är att gränsen mellan lyssnaren och den aktive kompositören håller på att luckras upp. I musiken till datorspelen finner vi ett musikdramatiskt berättande som genom interaktiviteten frångår det traditionella berättandets linjära narratologi. Att komponera musik som både är intressant och samtidigt flexibelt rättar sig efter en publik som fysiskt medverkar till att skapa musiken är kanske vår tids största utmaning för nu verksamma musiker, tonsättare och dramatiker.
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| 3. |
- Cappelen, Birgitta, 1962-, et al.
(författare)
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From designing objects to designing fields : from control to freedom
- 2003
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Ingår i: Digital Creativity. - 1462-6268 .- 1744-3806. ; 14:2, s. 74-90
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Tidskriftsartikel (refereegranskat)abstract
- In this paper we want to explore Field as a concept and as a metaphor for understanding interactive systems. By interactive systems we mean both systems and artworks, where the user by interacting changes the course of events. We intend to show why we need new terms and why we consider Field to be a fruitful concept and term. Further we will show how the Field concept changes both our understanding of what we do as designers and composers and how we acknowledge our audience. We will exemplify the design consequences of the Field concept by going through some design considerations we made when designing the audio tactile installation Mufi.
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| 4. |
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Scripts of Kingship : Essays on Bernadotte and Dynastic Formation in an Age of Revolution
- 2008
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- When French Marshal Jean Baptiste Bernadotte was elected heir to the Swedish Throne in 1810, a dramatic dynastic venture commenced. In an age of revolutions, marked by political as well as cultural upheavals, the commoner from Pau was transformed into King Charles XIV John and the head of a new royal dynasty in Sweden and Norway. Although fraught with challenges, the venture proved successful. As restoration set in, and the Napoleonides of Europe fell one after the other, Bernadotte held fast, and today the dynasty is approaching its bicentennial on the throne.In nine illustrated essays, the formation of a dynasty is explored as it unfolded in media such as ceremonies, spatial arrangements, opera performances, publicity and panegyrics.
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| 5. |
- Belgrano, Elisabeth, 1970
(författare)
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Understanding the singing self in performance of laments and madscenes in Italian and French 17th century opera.
- 2009
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Ingår i: EUFRAD (European Forum for Research Degrees in Arts and Design, 4-6 september 2009, Glasgow School of Art, Glasgow, UK.
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Konferensbidrag (refereegranskat)abstract
- This is an interdisciplinary study departing from vocal practice-based research in Baroque opera performance. The aim is to better understand minds and emotions of women performers during the 17th century with reference to 21 century performance practice, while exploring new possibilities of performing vocal music from the Baroque era.
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| 6. |
- Hedling, Olof, et al.
(författare)
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Train Kept a Rollin' : Antonioni, Blow Up och den brittiska bluesvågen
- 2008
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Ingår i: Theorier om verklig diktning. - : Absalon förlag, Lund. ; 25, s. 349-358
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Discussion and presentation of the extraordinary outpour of blues music and blues musicians out of Britain in the 1960s and how this is briefly portrayed in Michelangelo Antonioni's film Blow Up (1966).
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| 7. |
- Billing, Björn, 1965
(författare)
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Spännande vandring i musikens rum
- 1995
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Ingår i: Göteborgsposten. ; 1995:11 september
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Recension (övrigt vetenskapligt/konstnärligt)abstract
- Rec av Catharina Dyrssen, Musikens rum (avhandling)
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