scholarly journals The Ballet “Les Noces de Pelée et de Thetis” (1653) Preserved in Visual Images

ICONI ◽  
2021 ◽  
pp. 75-89
Author(s):  
Anna P. Grutsynova ◽  
Keyword(s):  
17Th Century ◽  
Musical Performance ◽  
Visual Images ◽  
Visual Impression ◽  
French Theater ◽  
Italian Opera ◽  
Time Period ◽  
Art Works

The article is devoted to the ballet “Les Noces de Pelée et de Thetis” which was produced in 1693 in the Petit Bourbon Palace in Paris (according to the rules of the French theater of that time period) in order to complement the opera with the same name composed by Carlo Caproli. The basis for the plot of the production was the myth widely disseminated in art works about the mortal Peleus and the Nereid Thetis, transformed in correspondence with the aesthetics of that time. The Dance entrées followed each scene of the Italian opera and were connected with its each content, in its turn, forming a consistent, logically delineated narration. The published libretto conveys the plot, and at times the outer form of the action quite vividly and fi guratively. A description of the decorations and machines used in the ballet has also been preserved, as the result of which in our time it becomes possible to create a visual impression from the production. In addition, important defi ning details capable of providing a perception not only of the protagonists’ outward appearances, but also of a concrete distribution of roles between the performers are the sketches for numerous costumes preserved up to our time. Thereby, it turns out that in 17th century musical performance a considerable role is played by its visual solution, which, having been preserved in iconographic materials, is capable of helping create an impression from the overall conception of the production a few centuries after it happened.

Painting with Music

2020 ◽  
Vol 8 (1) ◽  
pp. 63-90
Author(s):  
Carolyn Laferrière
Keyword(s):  
Art Criticism ◽  
Musical Performance ◽  
Visual Images ◽  
Vase Painting ◽  
Late Archaic

Abstract When Apollo is depicted playing his lyre, the representation of his active musical performance suggests a sonic element in the viewer’s perception of the image. In this paper, I examine how Apollo’s music and its effect upon his audience are communicated in late Archaic Athenian vase-painting. I draw attention to three musical terms, namely ῥυθµός, συµµετρία, and ἁρµονία, which were defined around the same time that the images were created. These concepts were also used for art criticism, encouraging a comparison between art and music. Working between these musical terms and the visual images, I show that the material representation of Apollo’s music informs each image’s composition through the repetition of similar lines and forms among Apollo, his instrument, his audience, and the plants and animals that accompany them. The images suggest that the sounds of the god’s music draw the composition together into a musical harmonia, thereby continually reaffirming the unifying character inherent to Apollo’s music.

scholarly journals Images of physics: an explorative study of the changing character of visual images in Norwegian physics textbooks

1970 ◽  
Vol 4 (2) ◽  
pp. 132-141 ◽  
Author(s):  
Berit Bungum
Keyword(s):  
Historical Perspective ◽  
Meta Analysis ◽  
Visual Images ◽  
Explorative Study ◽  
Time Period ◽  
Pedagogical Models ◽  
The One

Images are important elements of the communication of physics in textbooks. This paper presents an explorative study of visual images in a sample of nine different Norwegian physics textbooks from 1943 till present. Analysis makes use of the dimensions content specialization, framing and formality. A set of five modes of imaging physics, that also takes characteristics of physics as a discipline into account, is constructed. A meta-analysis of transitions and contrasts between the modes represented in textbooks is then presented in a historical perspective. It is found an increased content specialisation during the time period investigated, which involves a shift from realistic to conventional images. This is associated with an altered focus from experiments to models of physics. In newer textbooks, realism is rather present through images of real scientists at work and through pedagogical models. Based on analysis of framing in images, it is argued that the role of the learner is hence altered from a potential scientist to the one of a consumer of the products of science. Further, it is shown how pedagogical models common in newer textbooks may entail an under-communicated abstraction, where the content specialisation is low while the formality of the image remains high.

Entwicklung des Air mit Da capo von Lully bis Rameau und seinen französischen Zeitgenossen

2021 ◽  
Vol 74 (1) ◽  
pp. 26-59
Author(s):  
Herbert Schneider
Keyword(s):  
Main Type ◽  
17Th Century ◽  
The Other ◽  
Main Form ◽  
Italian Opera ◽  
French Music ◽  
Starting Point ◽  
Musical Forms

The starting-point is the rudimentary Italian aria with da capo, respectively with a frame, which surrounds a much longer central part. This type widely spread in the 17th century gets the main form of Quinault’s and Lully’s monologue (the other one is through-composed). It remains present in the Italian opera in a small quantity when the classical aria da capo has already been the main type of aria, whereas in France its number decreases much slower and gets rare in the 1750th. The French cantata imported from Italy blazes the trail for the classical da capo aria firstly in the opera-ballet, then in the divertissements of the tragédie lyrique in Italian, soon also in French and slowly also in arias with dramatic content and expression in all types of French music theatre. The aria with da capo and the classical da capo aria are examined in detail in operas of Rameau and his contemporaries, especially their individual solutions of text, musical forms and expression. Finally J.-J. Rousseau’s typology of the da capo aria is examined, verified and criticized. (Autor)

From Invention to Interpretation: The Prologues of the First Court Operas Where Oral and Written Cultures Meet

2003 ◽  
Vol 20 (4) ◽  
pp. 556-596 ◽  
Author(s):  
Jette Barnholdt Hansen
Keyword(s):  
Oral Tradition ◽  
Lyric Poetry ◽  
17Th Century ◽  
Linguistic Theory ◽  
Musical Performance ◽  
Vocal Performance ◽  
Musical Notation ◽  
Late Renaissance

The dynamic progression from orality to literacy is embodied in the notation of the prologues to the first court operas. This transition is influenced by the proliferation of printed scores at the beginning of the 17th century and has profound rhetorical consequences for vocal performance. In the first prologues, where the written arie are formulaic, the singer is the creator and authority; s/he controls the musical performance and makes the connection between words and music by means of variation, ornamentation, and improvisation as part of a persuasive dialogue with listeners. In the later prologues, however, the composer rather than the singer is in control of the discourse. Because of a new and more elaborate way of writing out the prologues, where all stanzas are set to music, the singer is now turned into an interpreter of the composer's rhetorical realization of the words, a realization fixed in the score by musical notation and capable of being brought to life in performance. The prologue can profitably be discussed as a genre in the context of the oral tradition of the late Renaissance, and is illuminated by a number of 16th- and 17th-century Italian sources dealing with lyric poetry, linguistic theory, vocal performance, sound, and listening. In this regard, the edition of Jacopo Peri's Euridice by Howard Mayer Brown (1981) is open to criticism, because all stanzas of the prologue are written out, which is not in accordance with Peri's original score (Florence, 1600). The editorial realization of the strophes, therefore, seems to run contrary to the principles of orality according to which the prologue was originally composed.

scholarly journals Von der Nachhaltigkeit als Beschränkung zur nachhaltigen Entwicklung als Programm | From Sustainability as a Limiting Factor to a Sustainable Development as a Policy

2000 ◽  
Vol 151 (12) ◽  
pp. 497-501 ◽  
Author(s):  
Anton Schuler
Keyword(s):  
Sustainable Development ◽  
20Th Century ◽  
19Th Century ◽  
Production Capacity ◽  
17Th Century ◽  
Limiting Factor ◽  
Time Period ◽  
Calculation Parameter ◽  
The 19Th Century

The development of sustainability is presented on the basis of quotations from German forestry literature published from the 17th century up until now. At the beginning of this time period, the demand for sustainability was limited to the exploitation of the increment. However, in the 19th century,the conservation of the site's production capacity was included and ‹sustainability› was backed up by arguments such as the forest’s role within the forest economy. In the 20th century,sustainability developed from a mere calculation parameter to a behavioural norm with regard to all interventions dealing with forest and ecosystems.

Midlife Music: The Overhaul and Frissure

2015 ◽  
Author(s):  
Rachel Falconer
Keyword(s):  
River Flow ◽  
The Body ◽  
Musical Performance ◽  
Visual Images ◽  
Bird Flight ◽  
Echo Chambers ◽  
The Subject

This chapter explores the theme of a midlife threshold in Jamie’s two volumes published in 2012-13. Instead of a conversionary trope, such as we find in the famous opening lines of Dante’s Commedia, Jamie’s poetry here explore edges of being that open onto unfixed and transitional states. The forms of the poems are correspondingly fragmentary and fluid. Images of river flow, breezes and bird flight, predominate. If The Tree House depicts Jamie’s local landscape, The Overhaul performs its weather. The poetry here is musical, in the sense explored by philosopher Jean-Luc Nancy: it is coming and going, emerging and fading, unlike visual images which appear at once. And like musical performance, which creates echo chambers between instruments struck and sound responding, the subject captured in Jamie’s midlife poetry is attentive and responsive to many voices and noises, not necessarily human ones. Both formally and thematically, these poems perform the processes of fracture and healing, in the body, in landscape, and above all, in the sounds they make falling on the ear.

scholarly journals Identity, construction and memory in Joanne Leonard’s Being in pictures: An intimate photo memoir (2008)

Literator ◽  
2015 ◽  
Vol 36 (1) ◽  
Author(s):  
Heilna Du Plooy
Keyword(s):  
Identity Construction ◽  
Visual Images ◽  
Autobiographical Narratives ◽  
Written Text ◽  
Art Works ◽  
History Of Art ◽  
Public Debates ◽  
History Of ◽  
The Relationship ◽  
Selection Of

When Joanne Leonard’s photo collage Romanticism is ultimately fatal (1972) appeared in H.W. Janson’s History of art, the image brought her recognition as an artist. It gave her the confidence to further develop her technique of making photo collages, and the collages became a means of giving expression to her personal emotions as well as her reactions to historical events and public debates. In 2008, Leonard published an autobiographical text, ‘an intimate memoir’, in which she presents a selection of photographs and photo collages narrating her development as an artist and as a person. Written text is added to the visual images, providing information about the content and technical aspects of the photographs and collages as well as about the stages of her life as a person and an artist. This article discusses Joanne Leonard’s photo memoir by focussing on the relationship between identity and narrativity, on the constructed nature of all representions and especially represented autobiographical narratives and, finally, on the understanding and functioning of memory. The theoretical and philosophical aspects of identity, narrative identity, construction and memory are explored, and selected art works are analysed and discussed. The conclusion of the article suggests that autobiography, in all its variety, remains one of the most fascinating genres to study and that this photo memoir is an exceptional example.

Art Critics and Art Publics: A Study in the Sociology and Politics of Taste

1988 ◽  
Vol 6 (2) ◽  
pp. 127-148 ◽  
Author(s):  
Emanuel Levy
Keyword(s):  
Empirical Research ◽  
Historical Time ◽  
Central Question ◽  
Social Settings ◽  
Time Period ◽  
Sociology Of Art ◽  
Art Works ◽  
Lay Public ◽  
Art Critics

This article examines theoretically and empirically a central question in the sociology of art: the role of art critics and their influence on artists, art works, and art publics. The study compares two taste subcultures: the artistic tastes of professional theater critics and the lay public. It is based on empirical research on critics' and publics' assessments and reactions to theatrical productions in Israel over a period of half a century, from 1918 to 1968. These differential reactions are described and explained in terms of three variables: the type of publication in which the plays were reviewed (mass versus elite publications), the historical time-period (the pre-statehood versus the post-statehood era), and the type of play presented (specifically Jewish versus non-Jewish plays). Patterns of agreement and disagreement among the critics, and between the critics and the larger public are described and analyzed. The article concludes with a discussion of the changes in the roles of critics and in the functions of the theatrical institution, which are examined in relation to Israel's changing political, demographic, and social settings from 1918 to 1968.

Would Caccini approve?

Early Music ◽  
2008 ◽  
Vol 36 (1) ◽  
pp. 81-94
Author(s):  
John Bass
Keyword(s):  
Real World ◽  
17Th Century ◽  
Musical Performance ◽  
British Library ◽  
Musical Structure ◽  
Poetic Structure ◽  
Musical Patterns

Abstract Although it is known that improvisation was an important part of musical performance in the 16th and 17th centuries, studying how extemporaneous elements were incorporated into real-world situations has proven to be difficult. Improvisers, by nature, do not record what they do, but there is evidence that points to some of these individuals attempting to document their approach to music, namely in ornamentation manuals and individual pieces with written-out embellishment. Among these sources is British Library Ms. Egerton 2971, a 37-folio volume probably dating from the second or third decade of the 17th century, which contains, among other things, embellished versions of Giulio Caccini’s Amarilli, mia bella and Dolcissimo sospiro, first published in Le nuove musiche (Florence, 1602). Sources like this, despite some inherent problems, offer the clearest window into the minds of improvisers of the time, and warrant further study. The research in this article serves two purposes. First, the versions of Amarilli, mia bella and Dolcissimo sospiro contained in Egerton 2971 will be examined and compared to those published in Le nuove musiche as a case study of early 17th-century improvisation. Second, because of Caccini’s open disdain for singers taking liberties with his compositions, an attempt will be made to see if these pieces might be examples of such treatments. The crux of the article aims to show that ornamentation of the time, at least as shown in these examples, was not a random act of substituting stereotyped musical patterns for given intervals, but instead points to a more robust idea of improvisatory thought. Rather than looking at individual ornaments or how specific musical gestures might have painted certain words, the overall structure of the ornamentation is examined to show that it is subject to deeper and subtler intellectual considerations of poetic structure, overall musical structure, and rhetoric.

Visual Rhetoric and Semiotic

2017 ◽  
Author(s):  
Marcel Danesi
Keyword(s):  
Visual Rhetoric ◽  
Visual Images ◽  
Web Pages ◽  
Associative Processes ◽  
Visual Objects ◽  
Logo Design ◽  
Visual Semiotics ◽  
Art Works ◽  
Rhetorical Structures ◽  
Field Of Inquiry

Visual Rhetoric (VR) is a field of inquiry aiming to analyze all kinds of visual images and texts as rhetorical structures. VR is an offshoot of both visual semiotics, or the study of the meanings of visual signs in cultural contexts; and of the psychology of visual thinking, as opposed to verbal thinking—defined as the capacity to extract meaning from visual images. The basic method of VR, which can be traced back to Roland Barthes’s pivotal 1964 article “The Rhetoric of the Image,” is to unravel to connotative meanings of visual images. The picture of a lion, for instance, can be read at two levels. Denotatively (or literally) it is interpreted as “a large, carnivorous, feline mammal of Africa.” This level conveys informational or referential meaning. But the image of lion in, say, an advertisement or music video invariably triggers a connotative sense—namely, “fierceness, ferociousness, bravery, courage, virility.” The key insight of VR is that connotation is anchored in rhetorical structure, that is, in cognitive-associative processes such as metaphor and allusion, which are imprinted not only in verbal expressions, but also in visual images. So, the image of a lion in, say, a logo design for men’s clothing would bear rhetorical-connotative meaning and affect the way in which the clothing brand is perceived. This same basic approach is applied to all visual expressive artifacts, from traditional visual art works to the design of web pages and comic books. VR is showing that visual objects are rhetorical objects and that, therefore, they can be used to influence and persuade people as effectively as rhetorical oratory, if not more so. Given its simple, yet effective method of analysis, VR is spreading to various disciplines as a technique, including psychology, anthropology, marketing, and graphic design, among many others, affirming how visual images tap into a system of symbolism that is interconnected with other forms of symbolism and representation.

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