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This book appraises the contribution of Paul Dukas (1865-1935) to a
wide variety of French musical practices. As a composer, critic,
artistic collaborator and teacher, Dukas was central to the fin de
siecle and early twentieth-century Paris musical scene (and more
broadly to the French scene). Significantly, his compositional
style mediated tradition through the modern language of his
present, while his critical writings pioneered a new mode of
musical discourse in the French press. Of further interest are
Dukas's professional relationships with iconic figures such as
Gabriel Faure and Claude Debussy, and his role in fostering the
next generation of French composers. In addition to mentoring
famous names such as Olivier Messiaen and Tony Aubin, he staunchly
supported his female students, notably Elsa Barraine, Claude Arrieu
and Yvonne Desportes. This unique essay collection offers a
panoramic perspective on a comparatively neglected French musician.
Paul Dukas: Legacies of a French Musician traces two aspects of his
work: Part I treats Dukas as a composer, thinker and artistic
collaborator; Part II constructs his intellectual legacy as seen in
his creative and pedagogic endeavours. This book is essential
reading for anyone interested in fin de siecle and early
twentieth-century French music, women in French music, music
criticism and composition education in the Paris Conservatoire.
This book appraises the contribution of Paul Dukas (1865-1935) to a
wide variety of French musical practices. As a composer, critic,
artistic collaborator and teacher, Dukas was central to the fin de
siecle and early twentieth-century Paris musical scene (and more
broadly to the French scene). Significantly, his compositional
style mediated tradition through the modern language of his
present, while his critical writings pioneered a new mode of
musical discourse in the French press. Of further interest are
Dukas's professional relationships with iconic figures such as
Gabriel Faure and Claude Debussy, and his role in fostering the
next generation of French composers. In addition to mentoring
famous names such as Olivier Messiaen and Tony Aubin, he staunchly
supported his female students, notably Elsa Barraine, Claude Arrieu
and Yvonne Desportes. This unique essay collection offers a
panoramic perspective on a comparatively neglected French musician.
Paul Dukas: Legacies of a French Musician traces two aspects of his
work: Part I treats Dukas as a composer, thinker and artistic
collaborator; Part II constructs his intellectual legacy as seen in
his creative and pedagogic endeavours. This book is essential
reading for anyone interested in fin de siecle and early
twentieth-century French music, women in French music, music
criticism and composition education in the Paris Conservatoire.
This volume explores the issue of collaboration: an issue at the
centre of Performance Arts Research. It is explored here through
the different practices in music, dance, drama, fine art,
installation art, digital media or other performance arts.
Collaborative processes are seen to develop as it occurs between
academic researchers in the creative arts and professional
practitioners in commercial organisations in the creative arts
industries (and beyond), as well as focusing attention and
understanding on the tacit/implicit dimensions of working across
different media.
Expanding the notion of translation, this book specifically focuses
on the transferences between music and text. The concept of
'translation' is often limited solely to language transfer. It is,
however, a process occurring within and around most forms of
artistic expression. Music, considered a language in its own right,
often refers to text discourse and other art forms. In translation,
this referential relationship must be translated too. How is music
affected by text translation? How does music influence the
translation of the text it sets? How is the sense of both the text
and the music transferred in the translation process? Combining
theory with practice, the book questions the process and role
translation has to play in a musical context. It provides a range
of case studies across interdisciplinary fields. It is the first
collection on music in translation that is not restricted to one
discipline, including explorations of opera libretti, surtitling,
art song, musicals, poetry, painting, sculpture and biography,
alongside looking at issues of accessibility.
How is music affected by its translation, interpretation and
adaptation with, through, and by dance? How might notation of dance
and music act as a form of translation? How does music influence
the creation of dance? How might dance and music be understood to
exchange and transfer their content, sense and process during both
the creative process and the interpretative process? Bringing
together chapters that explore theory and practice, this book
questions the process and role translation has to play in the
context of music and dance. It provides a range of case studies
across this interdisciplinary field, and is not restricted by
genre, style or cultural location. As one of very few volumes to
explore translation in relation to music and to overtly tackle this
topic in terms of dance, it moves the argument from a broad notion
of text and translation, to think critically about the sound and
movement arts of music and dance, using translation as a model to
better understand the collaboration of these art forms.
This volume explores the issue of collaboration: an issue at the
centre of Performance Arts Research. It is explored here through
the different practices in music, dance, drama, fine art,
installation art, digital media or other performance arts.
Collaborative processes are seen to develop as it occurs between
academic researchers in the creative arts and professional
practitioners in commercial organisations in the creative arts
industries (and beyond), as well as focusing attention and
understanding on the tacit/implicit dimensions of working across
different media.
Expanding the notion of translation, this book specifically focuses
on the transferences between music and text. The concept of
'translation' is often limited solely to language transfer. It is,
however, a process occurring within and around most forms of
artistic expression. Music, considered a language in its own right,
often refers to text discourse and other art forms. In translation,
this referential relationship must be translated too. How is music
affected by text translation? How does music influence the
translation of the text it sets? How is the sense of both the text
and the music transferred in the translation process? Combining
theory with practice, the book questions the process and role
translation has to play in a musical context. It provides a range
of case studies across interdisciplinary fields. It is the first
collection on music in translation that is not restricted to one
discipline, including explorations of opera libretti, surtitling,
art song, musicals, poetry, painting, sculpture and biography,
alongside looking at issues of accessibility.
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