skip to main content
Visitante
Meu Espaço
Minha Conta
Sair
Identificação
This feature requires javascript
Tags
Revistas Eletrônicas (eJournals)
Livros Eletrônicos (eBooks)
Bases de Dados
Bibliotecas USP
Ajuda
Ajuda
Idioma:
Inglês
Espanhol
Português
This feature required javascript
This feature requires javascript
Primo Search
Busca Geral
Busca Geral
Acervo Físico
Acervo Físico
Produção Intelectual da USP
Produção USP
Search For:
Clear Search Box
Search in:
Busca Geral
Or hit Enter to replace search target
Or select another collection:
Search in:
Busca Geral
Busca Avançada
Busca por Índices
This feature requires javascript
This feature requires javascript
Who’s Afraid of Berlioz?: Reflections on the “Berlioz Problem” and the “Acticity” of the Musical Work
Hovland, Erlend
Studia musicologica Norvegica, 2019-10, Vol.45 (1), p.9-30
[Periódico revisado por pares]
Texto completo disponível
Citações
Citado por
Exibir Online
Detalhes
Resenhas & Tags
Mais Opções
Nº de Citações
This feature requires javascript
Enviar para
Adicionar ao Meu Espaço
Remover do Meu Espaço
E-mail (máximo 30 registros por vez)
Imprimir
Link permanente
Referência
EasyBib
EndNote
RefWorks
del.icio.us
Exportar RIS
Exportar BibTeX
This feature requires javascript
Título:
Who’s Afraid of Berlioz?: Reflections on the “Berlioz Problem” and the “Acticity” of the Musical Work
Autor:
Hovland, Erlend
Assuntos:
Acticity
;
Berlioz and the guitar
;
guitar as composing tool
;
practice studies
É parte de:
Studia musicologica Norvegica, 2019-10, Vol.45 (1), p.9-30
Notas:
10.18261/issn.1504-2960
Descrição:
This article argues that there is one issue that can be useful in expounding the “Berlioz problem”, namely our obliviousness to how the musical work is not only constituted by, but also continuously caught in, a meander of acts. We might call this the “acticity” of the musical work. The acticity of Berlioz’s music is defined by his use of the guitar as a composing tool. The article follows how acts of playing and composing on the guitar are inscribed in the score and how the physicality of these acts is still present and creates the specificity of the orchestral writing, and further, how this “impure” materiality demands new modes of development. The acts do not simply condition the orchestral writing, they are present in, and constitute the particularity of, the score; but more importantly, they may even illuminate an ontological character of every musical work, its acticity.
Idioma:
Inglês;Norueguês
This feature requires javascript
This feature requires javascript
Voltar para lista de resultados
This feature requires javascript
This feature requires javascript
Buscando em bases de dados remotas. Favor aguardar.
Buscando por
em
scope:(USP_VIDEOS),scope:("PRIMO"),scope:(USP_FISICO),scope:(USP_EREVISTAS),scope:(USP),scope:(USP_EBOOKS),scope:(USP_PRODUCAO),primo_central_multiple_fe
Mostrar o que foi encontrado até o momento
This feature requires javascript
This feature requires javascript