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anan0 Epi de recerca/ Nimera 23, desemtre 2013 Revises /Esmuc digital /ESMUC - ESMUC pees Ars video The short music video in early and classical music Espal de recerca Aros publeacons o In sant years the dleseminaton of Waster Art Muse by means of| audiovisual media has been intensfed, and Ns presence is omarkable 00a networks tke YouTube ane Vimeo [1] The Wester Art Muse, Specialy the early music, searching is plac nthe current audiovisual Space. Visual svategis include, among athers, techniques ofthe art fms, fdvertiing, fiona sor fis, and popular muse videos, What kindof phenomenon is he short video of westorn art musle? What {he roo of heee short videos? What are te aucovsualetategios? We have no definbve answors to these questions so inthis paper we inten to offer a preliminary appreach tothe short musi video in classcaland early ‘musi by means of @ ie description offs main functions and auslowsuat Stratogis. In tis way, we wil by to extract tre most relevant soarch ‘questons to deepen them inte future This papers into sections. Inthe fst, we offer a bref overview a the videos available one and we wt remark same of tele main features. nthe second one. we cea with a space case eudy: the vdoo of Franz Schuber's led Der Evkonig, by Anderson & Ross plana duo, We wll pnt out some of he prncples af ts ausiovisualsrategios 1. The music videos on YouTube ie start with an overviow of early and classical music videos that wo can fine on vstual social networks. We intend to afer not an exrausive typology of al exsting videos, but 8 preliminary approach based on a simple terion: the number and complex ofthe vival information presented in each video “Tiss the casual ecording made by the audience in he lve concert, which may be uploaded and dlstriouted an line, Usually mage and muse are recorded in a engl tako and is qual ¢ vary low. The role of hese recordings is documentary and has tho function of sharing @ personal experence: really was Pore” (soe ture 1: 1.2. Profesional recording and editing of a We concert ED so Inthe concert broadcasting fr TV or for @ DVD edtion, jis oo Saas the Wsual aspects ervched trough edtng process ° ‘These videos ofe diverse views of he same Ive performance and tis way, the visual aspect "bopins {o speak for toa. In ator words, by moans of audovisual eating ie vdeo becomes a ferent ‘loment fom ie lve experiance othe concer ls not ' documentary recoraing ofa specie event out the rostion ofa aileron arti arta, These videos are Tocaled inthe ralm of simulation (se Saudia 198%) and mediatized performance (see Auslander 1999). (One example isthe TV broadcasting ofthe concert Ietnos du Soicento by UArpaggiata, Figure 2 shows some shots that state the wsual eGting of@ We recording 1.3, Musical performances stagod fr fring In these cases the perormance Is staged expressly forthe audiovisual media. Generally speaking, these ‘videos present a sophisveatd level of sual constuction’ a large numberof video cameras that allow 2 varity of shai, a careful auslovsualeaing and post production process. Here we ‘nd saveralkinds of productions, 1.3.1, Musial perormances fimed i historical catons Friming a musieal performance in ahistorical lncation isa recurrent feature of early music vie. Otten the locations Yeated to the historical contest of mus. In ths case, the main Issue of val discourse trol the musical performance fel but the place in which ls played. For this roaso. he vdeo camera takes diferent hpadwwrw.esmuc.calesmuc_dajtalayouisetprnEsmuc-dgtalevistesyNumero-23-desembre-2013fEspal-de-ecerca 10 anan0 Epi de recerca/ Nimera 23, desemtre 2013 Revises /Esmuc digital /ESMUC - ESMUC aspects ofthe place, employing long-shots and depth offs In this regard, a remarkable caso isthe French documantary maker Oller Smonnot. In his productons tho concert apposrs tke an aestraialabect ns own right, which is Ted fom 8 vary of perspectives that ‘expand’ artic dmonsson. Thereby, tne musicians gesture acquires a relevant role inthe fim “The kind of shots and edtng syle by Simonnet, allows him to construct a singular audiovisual spatialty. On ane hand, Simonne! integrates te performances place inthe arte stuaton. On the other hand, he expands the audience's perceptual posses, by means of constusting musical views which exceed the single frame tf a musical performance, as represented i the fim Une autumne musiale # Versale (see figure 3) ‘Simonnet not only employs he audiovisual anguage to show the performance plac, but ais to display the musicians body. For example. inthe im Sacrifcum: The Art ofthe Casta, Sonnet offers an unusval podrat ofthe mezzosoprano Ceca Bartel. Sho is depicted as an androgynous charactor, and her perlormance physica forts highighted ough Amatcanshats and even sosa-uns (so figure 4). This Ausiewsual porvatis remarkable because dafis the ea of “mirimum effort tha often characterizes the vtuoso opera singing, and alo breaks the lsonary vel that usualy covers the musicians body in an opera lve performance 2) ‘Simonet. Fullfim avaiable 1.3.2, Musical performances fimed in unconventional actions These videos show a performance in Wo kinds of locations: 1) a neural place, that isto say, a place that is nat jvocave 2)anunconventonal piace, Ikea forest or an urban landscape, Some videos tke | Musci¢ Le Quatro stagion video 1), emphasize sels of images by means of lana shale Inthe ease, an unrealite situation of musieconaumstin e conetuctedthraugn te audiovisual med, Inthe ‘way, the video amples the spatally ofthe musical expernce with te aid ofthe image, bu witout affecting the temporally. Furthermore, the vdeo nerts he rusia! performance in cferant etonal space transforming the so-called ftionel pact (pao fzional), a ttm Used by Umberto Eco in the felt of erature, whic raters tothe agreement betwoon the impli author and the reader, wheraby the latter agrees io enter ino feton (Eco 1996, 81), Inthe video, the fetonal pacts established between the auciovisualartfact ard is usience, but te also Getermined bythe cade or conventons imposed bythe musical seane kell Looking st the performer waking By one see, fost n her own thoughts white we hear her musleal performance, Uunueualin early and classical music dees, However, these kid of shots are very common inthe ol of pop musie videoclip. In early and classical music videos, looking a the had perfrmanc ofthe vituoso players ‘ne ofthe main conetons of realiem or versimaude (th one ofthe mai features of video 1 Video 1, mus and Pina Carmine (conductor) playing Le quai stagion/ by Antone Vval (1878-1783), From Vivalul Le quatro stagion! Philips, 1988 (VHS), Drectea by Arton Van Munster. ie the We can see a ctferent casein the documentary The history of Luthier drectad by Aberto Sona example fete is a conast between the lyle natal landscape and the musicians black othe. hpakwww.esmuc calesmuc_djtalayowisetprnttEsmuc-dgtal/Revistes/Numero.23-desembre-20131Espal-de-ecerca ano anan0 Expai de recerca Nimero 23, desembre 2013/ Revistes/ Esmuc digital /ESMUC - ESMUC Unconventional landscape suggests a naturale approach to musi, the old-fashioned back thes are ke ‘an anchor that keeps the onlooker into te eaty musie domain Inthe video The Maan baroque music by PaulFenkart the choice of an uncanventona lace fs enhanced "twough a paricalar way of fining, Inti ea, he camara mavernenis and edting ofes an“intrseritlc tTanslaon” ofthe vertiginousrythmieal change in the ‘muse [3] Athough the intersemiot vanslaion seams fo suggest a very close relationship between music and image, produces confusion in the viewors, 6 i not always a successtul device. rected by Alberto Figure 6, 1Glardno Armanicoané Giovanni Antonin (conductor playing Ciaccona by Targuinio Meru. ‘om The falan baroque muse, Atiaus Musk, 1988 (0VD). Drocted by Paul Fenkart.Excorps of ths video Bora. An excerpt of the fm avaliable here 14, Videos with more than one auslowsual representation layer “These videos consttute a tuning point he development of the classical music videos. In these cases the Iagas of musicians making musi are atsmatng wth other mages tat are rot related wth the musical performance, The presence 0! several avdiovisval representation layers inroduces diferent tomporalty ‘mensions, whicn are managed ina singular manner Im mos of muse woos, especialy in pop musi, we can nd various space-time uns represented in the images. In the present paper wo cal? audlovisual representation layers. Far example, the video cla Tox by Biney Spears shows tree main layers, the second one subdivided in wo thal are consecutve. Furthermore, ther is fourth layer tat eosses sporacicaly the vdeo (see vdeo 2 and fgure 7} Video 2. Binoy Spears performing Towle, (C) 2003 Zomba Recording ‘Ge an a Figure 7. Auiovisualropreseniaton Layers in We can Klentyat east three functions of visual ae ve representation layers: descriptive, dramatic and hpadwwrw.esmuc.calesmuc_dajtalayouisetprnEsmuc-dgtalevistesyNumero-23-desembre-2013fEspal-de-ecerca 10 grz2014 Expai de recerca Nimero 23, desembre 2013/ Revistes/ Esmuc digital /ESMUC - ESMUC Ina descriptive ayer tne image simply shows any recognizable iconographic content zat oecasionaly ‘may be abstract. nthe early and classical muse videos, the performance represanation belongs to the ‘doseriptive ayer. as shown in te following example (00 video 3) Video 3. El Cortesano (José Hernandez Pastor, countertenor; Are! Abramovich, vnuel) playing Sila Noche haze oscura (1952) by Dlega Peador(¢.1508 557) From ime loman. Carpeciem, 2008 (CD) Carpe Bem “Thare are two descriptive audovualreprasertaton layrs alternated in this video. The frst one shows the ‘musicians performance, while the second ore shows lures night shols ofan anonymous street of Spain. We \Woula xe to remark some characerisic of bat ayes. Inne frst one, both performers are playing winoct interaction belwoen them, nan undetermined place without tong oF depth of any kind (aa srt of non place) nthisparteuar example, the onlookers are seaing a space tat can ony anit n video space (nthe other hand, he second audlovaual representation layer ris to cel he song hes: Sle noche haze ‘seura y tan coro ese camino, geome no ven amigo? (Ihe nights éark and so shorts the way, Why do hot you coma, lover?) Inthe song, the speaking subject ane the physical pace frm wich he speaks ae Unsrown, This indeterminacy i enforced by the Dlrtes mages ofa see ul of walking people well as ‘he abeent of 2 pariculr inivdual. In tis way the second layer renforee the melancnole atmosphere ofthe yes, In. dramatic layer the image emphasizes come musical lemon. Inte early and classical music videos, very ‘often, the dramatic layers a siaging version of a musical perormance that usualy s complemented wit fe S20 dosign, ora kindof dramatized performance full! thal! exaggerations (see veo) Video 4. Capella Minstrers- Carles Magraner. Pavane and gallard Salad from “The Tru by Batoloms Carceres, Recorded atthe Lnja gala Seda de Valanca January 20°2. Muse vdeo dae pesantation of the book “Baalla in Spagro?" CDM 1231 “The theatical aspectis not only present inthe scenography and customes, but also in the dramatizaton of the mule yres, a8 we see in the vdeo Monfoverd, Banquet ofthe Sonses, madrigal ero spot (eee video 3: hpadwwrw.esmuc.calesmuc_dajtalayouisetprnEsmuc-dgtalevistesyNumero-23-desembre-2013fEspal-de-ecerca a0 anan0 Expai de recerca Nimero 23, desembre 2013/ Revistes/ Esmuc digital /ESMUC - ESMUC Video 8. Tho consort of muscke and Antony Reoley (conductor). From Montovorl, Banquet of the Senses, ‘madigal erat spintual. 1985 (OVD). Bian classic. Duected by Don Taylor Finally, @ narative layer the main goa ofthe image is “otal a story" ats own. Sometimes, the story has nothing to do with the cantx! nor withthe content of music nthe next example see wdoo 6) he Bach ‘eniata BWV 80s the musical background of a funny fictona story. The cantata playing inside the visual rarratve, but the story has noting todo with Bach's music. Video 6. Magdalena Kozena performing “Freue deh etiste Schar, BIN 30. From Bach Arias. 1988. CD. Drohi Produition 1.5. The iconographic and plastic levels In the video of Vals Tho four seasons played by the olst Anne Sophie Mutter, two descriptive layers ‘hat happen in ferent space-ime realns are represented. The fst one isthe musical performance which ‘emphasizes the soloist won player. The secand ane the black and white images ofthe rehearsals, The ima sphere of each layar i sifren (eee vdeo 7 and igure 8) Video 7. Anne Sophie Mutar paying The four seasons. Deutsche Gramophon, 1988 (OVD) 8. Two) pt hpadwwrw.esmuc.calesmuc_dajtalayouisetprnEsmuc-dgtalevistesyNumero-23-desembre-2013fEspal-de-ecerca 510 anan0 Expai de recerca Nimero 23, desembre 2013/ Revistes/ Esmuc digital /ESMUC - ESMUC “This video allows us to emlay two concepts from visual semiotic studies: The Jconcgrephic and pst lavels (Grupo 11992), n the leonographle level, the mages formed by the abjects tnt are represented, Ine provaus exampio, his levels formed by two layer: two sel ef images which ar alornatos in aferont a Space-time span. The frst one represents the vlaiss performance, ana the secon one shows a music renearsal in other space-time frame. “The plastic level's formed by th intnsie characteristic ofthe image, independent of what represents ke ‘olor, textures, frames, postprodudton,ightng titers, veval elects etc Inte plastic evel the revous waded ‘shows colored pane, artiste lighting slazasuns, accelerated montage, val eects Hike acing cnanges in ‘olr,brighiness and contrast, ete. There are also some shots with abstract mages. 1.8, Dramatzation or naration of music Its necessary lo adress some aspects of cramatc and narrative audiovisual representation layers. The ‘dramatization angior narration are bated on music ang ins “amma” may be more or less related to ine Nstoreal context of muse, sites or even wih the muscans features, We would ike to highlight that Classical muse videos always nlude a descrpve layer, wich represents the muscal performance. This navraton of music in the vdeo appears at last in twee mannors: tis dlect or linear when Ieraly represents ‘he yes or contents of musi, ts allegorical or adapted, when the staring pots te music, but the story searches ts own path keoping some matched points with te music is arbitrary or superimposed whan music and image apparently are not related The video of tne Monteveras Madrigal Quel Augelln Che Canta, from The Full Monteverh rected by John La Buenarder, resto ada the main isve of te madrigal o conlomporary sitsatons(eo0 vise 8) Video 8. Acontomparary inerpretaion ofthe Montoverds Madrigal Quel Augen Gho Canta. The Full “Montoverd, Naxos, 2007 (OVD), Dvected by John La Guchadiere, Fragments of ths OVD here, In ater videos tke “Moon song" by the singer Anna Netrebko, we can find wo coexisting layers. The fest one tends to Fansate oct tho song story: Netrebko singing wile eating on water and dedicates her song to ‘he moon. The second layers arian because & superimposes a sory between two lversn the mle of tho song (soe vito 8) Video 8, Anna Netobko sing Moon Song by Anton Dvorak (Rusa). From Anna Netrebko: The Woman Voice (OVD) 2004. Deutsche Grammophon. Dcted by Vincent Paterson In the video clip “Dreaming a King’, drected by Luca Marconato there is @ coexistence of thee layers the fis ane ¢ about ahr clearing is mutealintrumonts, the sacond one is about te musical performance by ‘he wali player Rlecardo Minas, and the last one fe abouts lie ge ane @ mime plang chess. The three Inyors are arbivary or superimposed, and gradualy go to ony one pol, ths invoding an interesting ‘development on the narration: Only atthe end of he video the audience understands hat musi was always a the itor tvel (ict 2008) (S00 vdeo "0 and Fauce 8) hpadwwrw.esmuc.calesmuc_dajtalayouisetprnEsmuc-dgtalevistesyNumero-23-desembre-2013fEspal-de-ecerca 610 anan0 Expai de recerca Nimero 23, desembre 2013/ Revistes/ Esmuc digital /ESMUC - ESMUC Video 10. ‘Dreaming a King” (videoal), Orected by Luca Marcanato Fie 8. Tg aoa eresoaon yee = Dreaming a King" 2010 Viloggln). Dretes by 2, Der Erikonig, Anderson & Roe, When words fade, Steinway Label, 2011 (OVD) Now we delve ito the audiovisual strategies ofthe video ‘Dar Exkina’ played by the American pianists Geog ‘Anderson ane Elzabeth Jo Ros. This video Is part ofthe DVD Wen words fade 20") produced by Soinway record labo. lo thi video, the musi isan aerangoment fr fourhands pn ol the famous Schubert's led Der Enkénig, based on a poem by J:W.Gosthe. (5) The poem tells the story ofa Father thats cing at right with is Sk son. The kd ous the mysterious presonce of the Etfking that wants to kidnap him. Tho boy continuously asks hs fae: fr halp. He Was to calm him down answorng Prat alsin his imagination and hurries up fo go home. The Elking testo persuade the boy to go with ham and inal he teats him wilh volonce. The end sevoams: ho feng has rt him. When the father and his son ative homo, tho child is ‘dead (a26 vdeo 11), Video 11. original version of Der Erkoni by Daten Fischar-Deskau, (Barton) and Gerald Moore (plano). 1m the audiovsual version by Anderson & Roe, the video tl a superinposed story: Anderson & Roe are tacked by a srange force during thar perormance, Ros = town doom and ht by the frce unl he fe able {o playing again. Both players make a superhuman effort to continue the performance. Finally, Roe i aught bythe piano stings and “devoured” by te plano (see video 12 and figure 10) hpadwwrw.esmuc.calesmuc_dajtalayouisetprnEsmuc-dgtalevistesyNumero-23-desembre-2013fEspal-de-ecerca mo anan0 Epi de recerca/ Nimera 23, desemtre 2013 Revises /Esmuc digital /ESMUC - ESMUC Video 12. “Der Erkan" (videoclip). From When words fade, Stelnway Label, 2011 (OVD) Orected by Matvow Seow 2.1.ideo main features ‘The musichas three dramatic areas, which are aterated inthe video. Each of nese areas determines he clp's visual information, First area: The anguish In this area we nd the cis call fr help (mein Vater). These are repeated four mes, each ime in high pit, The harmon freon i VIV (secondary dominant) that progressively becomes mare dissonant an ever is conclusive, except ai the end, The montage becomes accelerated the camara “shakes” and tho shots 0 from the lng tothe lala st. unl the image becomes unrecognizable Second area: The stabization Ik corresponds to he fates vice that esto calm down his chill, The musical ange of his partis very ow sn offer tonal reschion, neh contrast wth tne anguah section. Tha area fan dtans keys reached by Strong modulations. The montage slower ang the camora is mounted ona pod, However, be po Players are very agitated Thi area: sino ym. It corresponds tothe Etking voice thal ries to tempt the boy. The ange i very high Usualy he harmonic functons ofthis area ae very differant rom the ether two n this case the harmony is reached by means of ‘smooth modutatons, but the return tote tne Is very abrupt. There are lona-snolz andthe length af ths area ‘s greater than the fest one. Here we an find an intresting synchronization between music and images. Inthe video 13 itis possible to folow he videpsrformance of Anderson & Roe wih the subiles ofthe orignal song to 808 the roationsh Between the original sang and the vaeo's audionsual stralogies Video 13, Video with Spanish sub ts which correspond wih the orginal es 2.2. Kinethe Anaphons Basod on a Pilla Tagg’s musical somiotis, wo woud ke to call kinetic ananhan the precise synchronization between a gestural element ofthe image and ane specie musical sound, which produces the isan of ‘usowsuo!synchresis Bi There are at oast we kinds of anaphons 2.2.1. Those that match with a musical nofo without a structural importance: “Those are images that produce a singular synchress effect, because the sound emission is motivated or Ininscally nee wth the mage, Examples: hpadwwrw.esmuc.calesmuc_dajtalayouisetprnEsmuc-dgtalevistesyNumero-23-desembre-2013fEspal-de-ecerca ano anan0 Expai de recerca Nimero 23, desembre 2013/ Revistes/ Esmuc digital /ESMUC - ESMUC + Roe spils sweat tha are syehronized with an farpoggio (soe tgure 11 and velco 12 mins 02:08) + High tes onthe piano synchornze with te ating sweat drops or the fling dross sequin (see fours 12 land vcioo 2, minute 02 21 to 02:26, 09-12; 08:22 find 09°38) + Tho pianas serow thal fal (sve fgute 13 and waieo $2 minute 0442), process (Ine mytam, harmony and form) “Those are images that match wit important structural ‘aspects. General, these show structural elements of the layer oF plot. s0 that becomes an element of ‘coherence In muse for susovsuals, Baampies: + Roe fs “attacked” bythe plano for Fest time athe beginning ofthe second etapne (see figure 1 and High ates on Video 12. minute 07:29). tne piano match + Anderson's piano bench i volontyatracted by the ante ating piano athe tinal eagence ol thal seeton (see gure sweat rope or {Pe and vdeo 12, minte 0124), te taling cess + Roe is hing onthe oor but raschas to play a chord sequin atthe fal staphe (eee hgure. 16 and video 12, rinse 018). + Tha plana strfgs cateh Ros, matching wi the last call for lp of he Boy. This musical secon resolves ‘hen tho king hurts th boy. Ins moment Roe Is “eaten” by the pare (see figure 17, 18 and video 12, minste 03:43 and 03:59), ‘The implausible plot of his video, as wellas the spicy ofthe stage and props, are compensated by ‘he audiovisual odin. In tis cas, tho dramatic ‘effeacy Is nltnr inthe "story nar inthe performance, but in the esting 3. Final considerations We would tke to summarize the resus of his pretminary research In seven pols: 5:1, tough there are some recent studles about ‘arly musie video (San Crist6bal 2013), wo stl do not have 2 biography about Western Art Musie videos. Therefore, ou” main pains ef dapature are tho studies about pop music video clip. 3.2. The vdeo contrbutes tothe pubic mages of —acenSieonecicioi ‘musicians. However, unlks pop music videos that cea i temarc te musilane’sersvaly or socal commitment ‘he early and clasiesl music videos hignigh the vetsoso player. Only the singers express abt of ensually [nth eenso, i's very intresting the case ‘of Ceca Baro, who fa sort of ant-dva, Because She dows present here as a sersual sing. On the Contrary, she shows the physical efor of singing ‘ough aft of gestures that are not beaut Nevertheless, these gestures are exited because ‘hey ae he source and evcence of Barts wrtoso performance. n other words, Bart's gestures inte ‘aio are a proo of her Kent as performer (2 5.3.Like pop musi vdooetp, the Wlstorn At muse video usually appeals o an established audince. In ‘his regard, we can hypothesize at fast two possibtes: + The search ofan established auclence. Example: Ceca Barto +The search ofa new autiones. Example: Anderson & Roe’ piano duo. 4. One ofthe siferences between popular and representation layers. While in he pop music video, the performance may change of ayer easy, he dassical Musi videos have fower layers ane fewer changes between tem, 53.5.1 the sary and classic music videos the ayer ta Shows the musical porformance dossnit change: the musician i alvays mis ole 0s performer. 5.8. The flcional pact inroduced by the arty and ‘assical mus: video's strongly Inked wih a vrwoso ‘musielntrpretaon In this aspect, fas from pop musi video. 2.7. The vide is nat a mere testimonial document ofa performance, On the contrary ths constitutes a new ariste arta, a now krd of porfermance. Ths ‘onstruets new places and temporal forthe musical Figure 18 ‘experience by means of the mage. hpakwwrw.esmuc.calesmuc_daltalayowisetprntEsmuc-dgtalRevistes/Numero-23-desembre-20131Espal-de-ecerca a0 anan0 spl de recerca/ Nimera 23, desemtre 2013 Revises /Esmuc digital /ESMUC - ESMUC Bibtiography ‘Ausland, Pipe. 1999, Liveness performance in the Maclatizad Cutie, New York: Rttedge. Baudrilard, Jean, 1981. Simlacres ef Sinations Pars Edtions Galle Biguenst, John, Rainer Schult, 1992. Theories of Dera. Univers of Cricago Press CChion, Michel. 1994, Ausovsion: Sound on Sereen. Now York: Columbia Unversity Prose Eco, Umberto. 1984. Sel passeggiato ne bosch! harrati. Mian: Bomplan. Groupe p. 1992. Tras du sgne visue, Pour une retorgue de image. Pars: Le Seu Micali, Sergio. 2008. Musica per fim: Stora, estate, nai, tpolog Miro: LIN San Grst6bal, Ursula 2093 Prima Finmagine, pola musica? Le nozon ai performance e performaivia nella produzione audiovsiva di musica antiea" Tesi di Laurea Magistrate mn Musicolola. Unlversta degl Stud Tagg, Philip. 1992. "Towards a sgn typology of musi in Roseana Dalmante eta. () Secando convegno europeo d nals musi, Notes [1] We use the umbroia term Wester Art Music Fetor te repertoire ranging rom the Gregorian chant to Contemporary music, which is current studiad and proserved info academic structures Ike conservaties [2] Further information about hs toplein San Cristobal (2012) [2] The term Intarsemioi translation proposed by Roman Jakobean in he essay On Traslation (1989) ind of translation “which interprets linguistic Sans by means of systems of non Inguistle signs (Giguonot& Schutts 1982, 253). Tha concept has boon use In musictogy by Phipe Tagg (1982) [4] Mcet proposed thal lm music ats in thee vols intemal external and midal, According to Mel "Si detnsce iva ilorna un evento musiale prodota ne contesto narrative dolla enaisequensa. La 0 prosenza pus essere manifesta oppure dedetla dal contasto. Nel prio caso la forte musicale @ visible 2 Sad diversi lena. Ad esempo un personaggi aezende un rieeoreradiafon (] oppure asste a una Bssecuzione dal vio, ancora suena ogi stasso uno stument Nel secondo caso il contsst rand plausibila lina 9 pid presenze musical, seppure nan svlate, purché cangrue [| In ogni caso sl considera un intervento 4 ive inom come apoartenente al naralo” (Mel, 2008, 645-688), [5] For one harmenie-analysis of he sang soe how youtube comwaleh?ysjuNxRYBWES [6] According to Chon Synchresi is “The forging of an immediate and necessary relationship between fomething one sees ané somthing one hears atthe samo Limo (tom synehronism and synhess) The peychalogial phenorenan of synatresis what mates dubbing and much clner poslroducton sound mong Soc posse” (Chion 1988: 228), [71 All anatys of Gators performance inthe vdeo Sacrifcium sin San Cristal (2013), ‘Comentaris (0) Log in or ereate a user account to comment hpadwwrw.esmuc.calesmuc_dajtalayouisetprnEsmuc-dgtalevistesyNumero-23-desembre-2013fEspal-de-ecerca sor

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