Franz Schuberts "Wandererfantasie"

2021 ◽  
Vol 74 (3) ◽  
pp. 229-262
Author(s):  
Markus Waldura
Keyword(s):  
Main Theme ◽  
Sonata Form ◽  
Formal Models ◽  
Continuous Transformation ◽  
Movement Model ◽  
Thematic Unity ◽  
The Fantastic ◽  
The Individual ◽  
Formal Ambiguity

Franz Schubert’s D760 is entitled “fantasy”, although the four sections of the work recognisably reference the formal models of a four-movement sonata. Since those models appear in their traditional order, the “fantasy” elements have to manifest themselves differently, transgressing the norms of sonata in two ways: Schubert transforms and deconstructs the individual forms of the four-movement model, while suspending the autonomy of each movement. Both strategies are interrelated: by blurring the form of each movement, Schubert opens them up to the following sections. This is rendered plausible because the movements, which connect seamlessly, are derived from the same thematic material.The deconstruction of the formal models manifests itself in the elision of formal units, the interpolation of non-formal sections, and the startling curtailing of developmental procedures within the formal units. These formal licences generate ambiguous structures that do not lend themselves to definite formal interpretations. Thus formal ambiguity is a constituting element of the “fantastic” in D760.The thematic unity of the work is a result of the continuous transformation of a motif first presented in the main theme of the first movement; a process, in which new variants emerge from the synthesis of previous variations. Furthermore, the Presto, which stands in for the scherzo movement of the Fantasy, reverse engineers the sonata form of the first movement (which had been abandoned before the recapitulation) while completing and normalising the form of the first movement by aligning it with the scherzo form. Thus the Presto assumes the formal function of the missing recapitulation, whose “wrong” key of A flat major is “rectified” through the C-major finale.

Music and masks in Lorenzo Da Ponte's Mozartian librettos

1989 ◽  
Vol 1 (3) ◽  
pp. 225-247 ◽  
Author(s):  
Paolo Gallarati
Keyword(s):  
Sonata Form ◽  
Explosive Mixture ◽  
Continuous Transformation ◽  
Psychological Realism ◽  
The Real ◽  
Italian Opera ◽  
Lorenzo Da Ponte ◽  
Single Idea

In his trilogy of masterpieces composed to texts by Lorenzo Da Ponte, Mozart radically changed the musical and theatrical nature of Italian opera. The dramma giocoso became a true ‘comedy in music’ through the use of psychological realism: a vivid representation of life in continuous transformation and in all its naked immediacy is now the real protagonist of the story, an all-embracing totality within which each character represents a separate feature. This influx of a non-rationalist sense of life into the classical proportions of sonata form (whose tonal relationships and free approach to thematic development controlled the vocal set pieces) made for an explosive mixture. Even before his collaboration with Da Ponte, Mozart himself seemed well aware of his uniqueness: ‘I guarantee that in all the operas which are to be performed until mine [L'oca del Cairo] is finished, not a single idea will resemble one of mine.’

Horror, Trauma, and George A. Romero’s Martin (1978)

2021 ◽  
Vol 59 (2) ◽  
pp. 9-19
Author(s):  
Adam Lowenstein
Keyword(s):  
Vietnam War ◽  
Horror Film ◽  
Collective Trauma ◽  
Economic Decline ◽  
Slow Process ◽  
The Real ◽  
The Fantastic ◽  
The One ◽  
The Individual ◽  
Event Based

Abstract This essay analyzes how George A. Romero, in his underrated psychological vampire film Martin, translates individual trauma (slow, process-based, unrecognized) into collective trauma (sudden, event-based, recognized) through a vocabulary of horror. The language of trauma spoken by Martin is not the one we expect from the horror film, with its traditional investments in fantastic spectacle. Instead, it is a language that combines horror’s fantastic vocabulary and documentary’s realist vocabulary in ways that undermine our attempts to distinguish between the two modes. Romero’s vision urges us to see catastrophe where we are accustomed to seeing only the mundane, and collective trauma where we routinely see only individual trauma. In Martin’s version of horror, the economic decline of Braddock, Pennsylvania, is paired with trauma connected to the Vietnam War and immigration. The film moves between these coordinates to revisualize the distinctions that divide the fantastic from the real as well as the individual from the collective.

How Macroeconomics Lost the Complexity Vision

2016 ◽  
Author(s):  
David Colander ◽  
Roland Kupers
Keyword(s):  
Complex System ◽  
Standard Model ◽  
The State ◽  
Macro Level ◽  
Formal Models ◽  
Separate Branch ◽  
The Standard Model ◽  
Micro Level ◽  
The Difference ◽  
The Individual

This chapter tells the story of how macroeconomics developed as a separate field in an attempt to add aspects of complexity to the standard model with the aim of improving policy advice, but how those aspects of complexity were quickly lost it again. Instead of dealing with the macro economy as a complex system, macro economists focused on dotting is and crossing ts. The chapter begins by clarifying the difference between macroeconomics and microeconomics. Microeconomics builds a theory up from the individual elements—from the micro level to the macro level. It starts from assumptions of rational individuals and then analyzes how they would coordinate their actions, and what role the state should play in that coordination. Macroeconomics developed as a separate branch of economics when J. M. Keynes’s work was integrated into formal models in the 1930s and 1940s.

Does a ‘monothematic’ expositional design have tautological implications for the recapitulation? An alternative approach to ‘altered recapitulations’ in Haydn

2010 ◽  
Vol 51 (3-4) ◽  
pp. 369-385 ◽  
Author(s):  
Markus Neuwirth
Keyword(s):  
Formal Structure ◽  
Main Theme ◽  
Sonata Form ◽  
Analytical Studies ◽  
Development Section ◽  
Alternative Approach ◽  
Structural Aspects

‘Altered recapitulations,’ commonly regarded as a distinguishing feature of Joseph Haydn’s sonata form movements, are usually explained in terms of the ‘monothematic’ design of the exposition. According to the logic used in such analytical studies, recomposing the recapitulation would have been aimed at restoring the proportional balance between exposition and recapitulation, a need that resulted from the omission of the seemingly redundant, retransposed secondary theme along with the preceding transition. Though such an explanation has long been considered indisputable, this article casts doubt on the validity of the redundancy principle by showing that Haydn often did retain the monothematic section in the recapitulation. Rather, the recomposition of the recapitulation results from two important structural aspects thus far largely neglected in the literature: (1) the repetitive formal structure of the main theme, which is often considerably reworked in the recapitulation; and (2) the insertion of a separate newly composed dominant zone in the recapitulation that serves to compensate for the lack of a structural dominant at the end of the development section. Finally, it is argued here that Haydn, who was deeply rooted in the late Baroque tradition, by no means regarded multiple ‘double returns’ as either problematic or redundant, for he may have been thinking more in terms of an overriding ritornello structure.

The Training Needs of the Profession for the Next Decade

1974 ◽  
Vol 188 (1) ◽  
pp. 141-151 ◽  
Author(s):  
F. Shaw
Keyword(s):  
Primary Education ◽  
Training Needs ◽  
Main Theme ◽  
Stage Of Development ◽  
Educational Programmes ◽  
The Individual ◽  
Sixth Form ◽  
Manager Development

The main theme of this Address is the training of professional engineers, although it is apparent that training cannot be completely divorced from education. Primary education is dealt with briefly, but sufficiently to indicate its importance. A proposal is made for a system of mentor and tutorial guidance extending from the sixth form through the industrial student stage, and through University to Corporate Membership of C.E.I. and into management. At each stage of development the responsibilities of the various participants are clearly outlined, and proposals are made for training and educational programmes. These are broad enough to be applicable to almost any discipline, and should be tailored to suit the individual requirements of any organization. The Address is concerned with the methods which should be adopted for manager development, not only for the graduate but right through, as a continuing process, for all grades of management.

Study, Copy, and Conquer

2013 ◽  
Vol 30 (3) ◽  
pp. 369-423 ◽  
Author(s):  
Julie Hedges Brown
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Expressive Power ◽  
Main Theme ◽  
Sonata Form ◽  
Compositional Process ◽  
Piano Works ◽  
Piano Quartet ◽  
A Minor ◽  
Critical Writings

Schumann's 1842 chamber music exemplifies a common theme in his critical writings, that to sustain a notable inherited tradition composers must not merely imitate the past but reinvent it anew. Yet Schumann's innovative practices have not been sufficiently acknowledged, partly because his instrumental repertory seemed conservative to critics of Schumann's day and beyond, especially when compared to his earlier experimental piano works and songs. This essay offers a revisionist perspective by exploring three chamber movements that recast sonata procedure in one of two complementary ways: either the tonic key monopolizes the exposition (as in the first movement of the Piano Quartet in E♭ major, op. 47), or a modulating main theme undercuts a definitive presence of the tonic key at the outset (as in the first movement of the String Quartet in A major, op. 41, no. 3, and the finale of the String Quartet in A minor, op. 41, no. 1). Viewed against conventional sonata practice, these chamber movements appear puzzling, perhaps even incoherent or awkward, since they thwart the tonal contrast of keys so characteristic of the form. Yet these unusual openings, and the compelling if surprising ramifications that they prompt, signal not compositional weakness but rather an effort to reinterpret the form as a way of strengthening its expressive power. My analyses also draw on other perspectives to illuminate these sonata forms. All three movements adopt a striking thematic idea or formal ploy that evokes a specific Beethovenian precedent; yet each movement also highlights Schumann’s creative distance from his predecessor by departing in notable ways from the conjured model. Aspects of Schumann’s sketches, especially those concerning changes made during the compositional process, also illuminate relevant analytical points. Finally, in the analysis of the finale of the A-minor quartet, I consider how Schumann’s evocation of Hungarian Gypsy music may be not merely incidental to but supportive of his reimagined sonata form. Ultimately, the perspectives offered here easily accommodate—even celebrate—Schumann’s idiosyncratic approach to sonata form. They also demonstrate that Schumann’s earlier experimental tendencies did not contradict his efforts in the early 1840s to further advance his inherited classical past.

scholarly journals Communication, Technology, and the Planetary Creature

2010 ◽  
Vol 8 (1) ◽  
pp. 18-27
Author(s):  
Giuseppe O Longo
Keyword(s):  
Biological Evolution ◽  
The Body ◽  
The Internet ◽  
Negative Consequences ◽  
Continuous Transformation ◽  
Research Committee ◽  
Intellectual Activity ◽  
Media Technologies ◽  
Economic Exploitation ◽  
The Individual

Man and technology are inseparable: man produces technology, but the latter contributes to the continuous transformation of man. Today biological evolution based on random genetic mutations is largely exceeded by cultural (more specifically, technological) evolution, which is much faster due to the presence of Lamarckian inheritance mechanisms (imitation, learning and the like). This has two important consequences: 1) the formation of Homo technologicus, a symbiotic creature where biology meets technology intimately and is subject to a continuous transformation; and 2) the formation of a sort of Planetary Creature that originates from the interconnection of the individual man-machine symbionts and is heralded by the Internet and by the communication activities occurring in the Internet, in particular those taking place in the so-called social networks. The Planetary Creature is a single world-wide structure where important communication and cognitive processes occur, developing into a sort of connective intelligence that tends to absorb individual intelligences. This encroaching process can produce resistance and dissent as well as suffering, but can also enhance individual abilities. Actually, the growing efficiency and the decreasing costs of the communication mediated by technology offer unprecedented opportunities for augmenting knowledge and creativity and for eliciting novel forms of intellectual activity. On the other hand there might be negative consequences such as addiction to computers and virtuality, delegation of activities and abilities to machines, vulnerability of complex systems, undue control on individuals and economic exploitation. Some important consequences of these developments are examined concerning the body, the time and space categories, and in particular the identity concept.  This text is the keynote address of Guiseppe O. Longo at the 9th International Conference on Sociocybernetics, organised by the Research Committee 51 of the International Sociological Association (ISA) in Urbino, 29 June - 5 July 2009. The theme of the conference was: `Modernity 2.0 - Emerging Social Media Technologies and Their Impacts´. Longo presents here the perspective of engineering science towards sociological issues. He has published several books on that topic, so far in Italian language only. Though some of his statements in the text don't seem well-founded to sociological readers or may be deemed highly speculative, we decided to make his ideas accessible to the non- Italian world. We think they are worth discussing. Wolfgang Hofkirchner    

scholarly journals Od „śmierdzącego dudka” po banialuki. Obraz ptaków w literaturze renesansu i baroku – rekonesans

2020 ◽  
Vol 20 ◽  
pp. 76-96
Author(s):  
Dariusz Chemperek
Keyword(s):  
Fairy Tales ◽  
17Th Century ◽  
Individual Sensitivity ◽  
Polish Literature ◽  
The Third ◽  
New Meanings ◽  
The Fantastic ◽  
Agricultural Literature ◽  
The Individual ◽  
Second Category

Birds function in Polish literature of Renaissance and Baroque in three paradigms. Mostly they appear as creatures gifted with a symbolic (allegoric) meaning, seen through the prism of the tradition reaching to Aristotle’s Zoology, Physiologist, and later symbological compendia. The second category is describing birds as food or pests (especially in hunting and agricultural literature). Apart from this ‘practical’ paradigm, there is also a third one: birds as a source of an aesthetic thrill, fascination with them includes both lyricism and a ludic element. The first two categories fit into a more general utilitarian paradigm. Handbooks, treaties, sermons, fairy tales, paroemias and animal epigrams showcase birds almost exclusivelyas tools of moral, religious and conventional reflection, or as objects to be obtained and consumed. Interestingly, the symbological activity of the creators does not cease in the Renaissance and Baroque periods, the representatives of avifauna are burdened with new meanings, while the fantastic creatures slowly disappear from the creators’ fields of view. In the third group of works distinguished here, one can notice the phenomenon of the emancipation of birds as objects of interest just as they are, although their voice is heard mostly in the digressions scattered throughout the big epic works. The autonomy of birds in the literature of Renaissance and Baroque is not linear, the way of perceiving them is determined by the individual sensitivity of the authors, the most prominent of whom are Hieronim Morsztyn (early 17th century) and an anonymous translator of the Italian Adon (2nd half of the 17th century).

scholarly journals «Exegi monumentum»: the reflection of Schumann’s images in the Variations by J. Brahms on the theme by R. Schumann op. 23

2019 ◽  
Vol 17 (17) ◽  
pp. 249-261
Author(s):  
I.І. Polska
Keyword(s):  
Johannes Brahms ◽  
Robert Schumann ◽  
Main Theme ◽  
Musical Thought ◽  
Piano Works ◽  
Musical Thinking ◽  
Romantic Friendship ◽  
History Of ◽  
General Scientific ◽  
The Individual

Background. The problematics associated with the personal and creative relationships between Johannes Brahms and Robert Schumann, as well as the nature of their reflection in art, have been worrying the minds of researchers for more than a century and a half. One of significant, but little-studied aspects is the embodiment of Schumann’s images and associations in the four-handed piano works by J. Brahms. The article objective is revealing of the semantic specifics of the reflection of Robert Schumann creativity in the Variations by Johannes Brahms on the Theme by R. Schumann, op. 23. The study methodology determined by its objectives is integrative and based on the combination of general scientific approaches and musicological methods. The leading methods of research are the semantic, compositional-dramaturgic and genre-stylistic analyses. Results. Acquaintance with Robert and Clara Schumann (soon transformed into a romantic friendship) was a landmark, turning point in the life and work of J. Brahms. It was R. Schumann, who at some time first called young Chopin a “genius” and who also predicted to Brahms – at that time (in 1853) to almost no-known young musician – a great future in his latest article “New Ways” (after long literary silence), where the appearance of new genius solemnly proclaimed. The long hours of companionship of Brahms with Robert and Clara Schumann were filled of conjoint piano playing, very often – in four hands. Addiction to the four-handed duet playing was vividly reflected in the creativity of both, Schumann and Brahms. Creativity of J. Brahms is one of the highest peaks in the history of the genre of a four-handed piano duet. A special place among Brahms’ piano four-handed duets is occupied by the only major cyclical composition – the Variations on the Theme of R. Schumann op. 23 in E Flat Major, 1861. Variations op. 23 were written by the composer for the joint four-handed performance by Clara and Julia Schumann – the wife and the daughter of R. Schumann. The author dedicated his composition to Julie Schumann, with whom he was secretly in love at that time. The theme of variations is the melody, which was the last in the creative fate of R. Schumann. This theme was presented to Schumann in his night visions by the spirits of Schubert and Mendelssohn; the composer managed only to write down the theme and begin to develop it on February 27, 1854, on the eve of the tragic attack of madness, which led him to the hospital in Endenich. Brahms’s ethical and aesthetic task was to preserve for humanity the last musical thought of the genius and perpetuate his memory, creating an artistic monument to his great friend and mentor. Brahms’ idea is connected with the composer’s philosophical thoughts about death and immortality, about the meaning of being and the greatness of the creative spirit. This idea is even more highlighted due to the genre synthesis of the “strict tune” of the choral and the mourning march “in memory of a hero”. The level of associativity of each of these genre spheres is extremely high. It includes a huge range of musical and artistic phenomena The significant associative semantic layer of music of Variations is connected, of course, with Robert Schumann’s creativity. Brahms most deeply penetrates into the world of musical thinking of Schumann, turning to the favorite Schumann’s principle of free variation. The embodiment of this idea becomes both the tonal plan of the cycle, and the peculiarities of the genre characteristic of individual variations, and the psychological accuracy of specific figurative decisions, and the logical unity of the artistic whole with emphasizing of semantic significance of private details. In Schumann style, Brahms wrote the first four variations of op. 23. (Strictly speaking, the very idea of a “musical portrait” of a friend and like-minded person comes from the Schumann’s “Carnival” and “Kreisleriana”). Tonalities in the Variations get the semantic importance: E flat major as friendly and bright and E flat minor as intensely passionate. The tonal sphere “E flat major – E flat minor” for Brahms is the symbol of unity of the sublime and earthly, bright and gloomy, tragically passionate and calmly contemplative, it is a kind of image of the Universe, the Macrocosm that created by the individual musical thinking of the composer. The features of philosophical programmaticity of generalized type inherent in the Brahms conception predetermined the peculiarities of the figurative dramaturgy of Op. 23, reflecting the development and interaction of the main emotional-semantic lines of the cycle – lyrical, sublime tragic, fantastic, heroic and triumphal. The circle of the figurative development of the cycle is closed by the Schumann’s theme, creating an intonational-thematic and semantic arch framing the entire composition. The main theme of the Variations acquires here – as a result of a long and tragic dramatic way – features of a lyrical epitaph, a farewell word: “Exegi monumentum” – «I erected the monument»… Conclusions. In general, the music of Variations by J. Brahms on the Theme by R. Schumann is striking in its moral and philosophical depth, the power of artistic and ethical influence, emotional and figurative abundance and significance, compositional completeness and clarity of the dramatic solution. Variations on the theme by R. Schumann are a unique musical monument to the genius of Robert Schumann, created by the genius Johannes Brahms in honor and eternal memory to his great friend and teacher in the name of Music, Friendship and Love.

scholarly journals “I felt a bit nervous”

2021 ◽  
Vol 15 (1) ◽  
pp. 59-80
Author(s):  
Judit Háhn
Keyword(s):  
Emotional Experience ◽  
Project Work ◽  
Main Theme ◽  
International Borders ◽  
Language Studies ◽  
Two Cities ◽  
Research Questions ◽  
The Individual ◽  
Virtual Projects ◽  
Promotional Discourse

Virtual Exchange is a collective term for a set of collaborative online learning practices that cut across institutional, cultural, and international borders. Moving outside their learning environments, the participants engage in project work with foreign peers. The teams have to work across time zones, use foreign languages, manage cultural differences and apply digital tools for communication and collaboration. The virtual projects enhance the development of transversal work/life skills, which are an asset in today’s global labour market. The aim of the present study is to explore the emotional trajectory of Virtual Exchange based on the students’ e-portfolios. By analysing the self-evaluations, we can get a better understanding of the emotional experience of participating in Virtual Exchange and use the findings to develop the pedagogical facilitation of such projects. The research questions address the emotions that the students described when they were reporting on their learning experiences and the individual emotional trajectories that emerge in the students’ reports. Data was collected in the form of e-portfolios that the student participants submitted at the end of a Finnish-Polish Virtual Exchange project in 2019. The “Combining Expertise from Linguistics and Tourism: A Tale of Two Cities Told in Videos” collaboration had promotional discourse in tourism as its main theme. The participants (N=25) were university students majoring in tourism (Poland) and in foreign language studies (Finland). The e-portfolios were analysed with the help of dialogical approach combined with discourse analytical insights (Sullivan, 2012).

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