材料来源,符号的缺乏和合作者的存在:康斯坦帕拉·卡德维尔的双重案例

IF 0.2 3区 艺术学 0 MUSIC Organised Sound Pub Date : 2022-08-01 DOI:10.1017/S1355771822000346
Filipa Magalhães
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引用次数: 1

摘要

本文讨论了康斯坦萨·卡普德维尔(1937–92)音乐戏剧作品的作曲分类,并通过对作品《Double》的个案研究,提供了一种分析她的音乐和合作过程以及作品表现的方法。Capdeville的作品包括不同的元素,如音乐、布景(舞台)、动作、文本、录音、视觉图像、道具、服装和灯光。作品的文档分散在不同的来源,或者只是丢失了,这使得重建作品变得困难,因为它们有即兴的假设成分和特殊或非标准的符号。运用一种音乐学考古学,我想为理解Capdeville作品中的手势、语言和交流做出贡献。我的目标是保存这些作品,特别是通过强调作曲家的合作方法,并提出建立这些方面的文件流程的方法,以使作品系统化。我专注于磁带技术的使用,它既是聆听的来源(磁带提供了整个表演的录音),也是一种乐器(磁带录音是作品组成中给定的部分)。技术也是一个重要的分析工具,因为它有助于跟踪协作的创造性过程。iAnalyse软件用于帮助重建和解释音乐戏剧作品。
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Material Sources, Lack of Notation and the Presence of Collaborators: The case of Double by Constança Capdeville
This article discusses the compositional taxonomy of music theatre works by Constança Capdeville (1937–92) and offers a way to analyse her music and collaborative processes and also the performance of her work through a case study of the piece Double. Capdeville’s works include different elements such as music, settings (staging), movement, text, tape-recorded sound, visual image, props, costumes and lighting. Documentation for the compositions is scattered across different sources or simply lost, making it difficult to reconstruct the works as they have improvised hypothetical components and idiosyncratic or non-standard notations. Using a type of musicological archeology, I want to contribute to the understanding of gesture, language and communication in Capdeville’s works. I aim to preserve the works, particularly by highlighting the collaborative approach of the composer and proposing ways of establishing a documentation process for these aspects in order to systematise the works. I focus on the use of technology of magnetic tape as both a source of listening (the tapes provide a recording of the entire performance) and an instrument (tape recordings are given parts in the composition of the piece). Technology is also an important analytical tool because it helps to track collaborative creative processes. The iAnalyse software is used to help reconstruct and interpret music theatre works.
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来源期刊
CiteScore
1.20
自引率
16.70%
发文量
38
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