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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
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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.
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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
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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:
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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
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“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)
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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)
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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:
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+ 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.
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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
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