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- 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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| 3. |
- 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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| 6. |
- Knust, Martin, 1973-
(författare)
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Declaiming Wagner : Between Genesis and Historical Performance Practice
- 2024. - 1
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Ingår i: Wagner in Context. - Cambridge : Cambridge University Press. - 9781108836463 ; , s. 258-266
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Bokkapitel (refereegranskat)abstract
- Richard Wagner’s music and the way he created it are closely interconnected to the vocal delivery of the actors and singers of his childhood and youth. Or to put it more precisely: During the time of his socialization in early 19th-century Saxony, there was practically no difference between the profession of an actor and a dramatic singer. The same people performed in spoken drama and music theatre what led to a declamatory style of singing that was typical for German music theatre. This style shaped Wagner’s Sprechgesang, both considering its structure and its genesis. He did as a composer what the dramatic actors of his time whose performances shifted between singing and speech did on stage: He developed his vocal lines out of declamation and created different degrees of more or less speech-like passages. The latter poses a challenge for the historically informed performance practice of his works.
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| 8. |
- Knust, Martin, 1973-
(författare)
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Der ‘nordische‘ Ton : Nordeuropäische Komponisten und der kontinentale Blickwinkel
- 2023. - 1
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Ingår i: "HER CREATIVE PROCESS". - Helsingfors : Sibelius Academy, University of the Arts. - 9789523293427 - 9789523293434 ; , s. 285-304
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Bokkapitel (refereegranskat)abstract
- Composers have been moving between the Nordic and the Central European countries since the nineteenth century, resulting in a cul- tural transfer of aesthetics and music craftmanship. This process also shaped reception structures that have lasted through the twen- ty-frst century. After introducing a three-step model for this trans- fer that demonstrates the reciprocity of this process of exchange of agents and the media coverage of music from Northern composers on the continent, some concrete examples shall be investigated: the Swedish composer Andréas Hallén (1846–1925) and the Finnish na- tional composer Jean Sibelius (1865–1957). Both dwelled for longer pe- riods in the German capital of Berlin, where they networked, attended performances, and followed the reactions of the media to newly-written music. Both tried to achieve a breakthrough in Germany, but did not succeed in doing so during their active years. The reason for this may not only have been the actual quality of their music, but rather the asymmetric interpretation of their works in the media, which empha- sized the foreign origin of their creators despite their continental music education and—in Hallén’s case—a perfectly continental music idiom. The (non-)reception of their music exposes the frame of the continental perspective on the North, which appears to have been rather narrow.
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| 9. |
- Knust, Martin, 1973-
(författare)
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Die Stockholmer Schären : Eine musikalische Reise
- 2020
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Ingår i: operapoint. - Köln : Verein zur Pflege klassischer Musik durch Musikliebhaber. - 1864-4023. ; 20:4, s. 6-10
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 10. |
- Knust, Martin, 1973-
(författare)
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Die zwei goldenen Zeitalter der Filmmusik
- 2021
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Ingår i: operapoint. - Köln : Verein zur Pflege klassischer Musik durch Musikliebhaber. - 1864-4023. ; 21, s. 6-10
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Tidskriftsartikel (populärvet., debatt m.m.)
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