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RISS 인기검색어
- 검색키워드
- 저자 : Elfline, Robert (검색결과 2 건)
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"A kind of composition that does not yet exist": Robert Schumann and the rise of the spoken ballad
Elfline, Robert University of Cincinnati 2007 해외박사(DDOD)
소속기관이 구독 중이 아닌 경우 오후 4시부터 익일 오전 9시까지 원문보기가 가능합니다.
In 1849 Robert Schumann made the surprising decision to compose a work for narrator and piano, entitled "Schon Hedwig." He would return to this combination for two other works, "Ballade vom Haideknaben" and "Die Fluchtlinge," op 122, nos. 1 and 2, respectively. While relatively unknown today, these three works are significant in the way in which Schumann fuses elements of two existing musical traditions: the staged melodrama and the sung ballad. Additionally, these works proved influential in the way in which they provide a model for subsequent composers working in this medium. These works display a connection to the staged melodrama in their use of the spoken text, discontinuous accompaniment, and a primitive form of leitmotif. Schumann's works for narrator and piano also show a connection with the sung ballad in their choice of poetry, unusual harmonic shifts, and descriptive accompanimental gestures. These influences are traced through Schumann's spoken works as well as similar works by composers such as Franz Liszt, Richard Kugele, and Richard Strauss.
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Superstudio and the staging of architecture's disappearance
Ross, Elfline Kenneth University of California, Los Angeles 2009 해외박사(DDOD)
소속기관이 구독 중이 아닌 경우 오후 4시부터 익일 오전 9시까지 원문보기가 가능합니다.
This dissertation considers the groundbreaking work of the Italian architecture collective Superstudio (active 1968--78) in order to narrate an important shift in architectural practice away from designing buildings and toward the nomination of myriad non-tectonic pursuits as architecture. In an attempt to divorce themselves from what they perceived as a corrupt discipline, the six members of Superstudio replaced construction with a profusion of alternative mediums: including furniture, magazine works, films and temporary museum installations. Architecture, they claimed, had become complicit with late capitalist land development and status production and had relinquished its obligation to provide affordable housing to Italy's middle and lower classes. Superstudio, thus, as a political act, consciously withdrew from building while remaining within the discipline of architecture as a virus. By producing objects and engaging in activities once considered merely ancillary to the profession, the group questioned the discipline's injunction to build while making a claim for the architectural implications of the new mediums they employed. This dissertation, proceeding in a medium-specific manner, considers what it means to conceive of furniture objects, magazine spreads, museum installations and, ultimately, everyday life itself as new forms of architecture. This study has renewed relevance for the discipline of architecture as it continues to see its influence expand beyond building into every realm of daily existence.
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