The anti-fascist cantata Il canto sospeso, the string quartet Fragmente - Stille, an Diotima and the 'Tragedy of Listening' Prometeo cemented Luigi Nono's place in music history. In this study, Carola Nielinger-Vakil examines these major works in the context of Nono's amalgamation of avant-garde composition with Communist political engagement. Part I discusses Il canto sospeso in the context of all of Nono's anti-fascist pieces, from the unfinished Fučik project to Ricorda cosa ti hanno fatto in Auschwitz. Nielinger-Vakil (...) explores Nono's position at the Darmstadt Music Courses, the evolution of his compositional technique, his penchant for music theatre and his use of spatial and electronic techniques to set the composer and his works against the diverging circumstances in Italy and Germany after 1945. Part II further examines these concerns and shows how they live on in Nono's work after 1975, culminating in a thorough analysis of Prometeo. (shrink)

1. Sasŏ ŭi p'aerŏdaim chŏnhwan -- 2. Chuja ŭi 'Nonŏ chipchu' wa in kaenyŏm chusŏk -- 3. Tasan ŭi 'Nonŏ kogŭmju' wa in kaenyŏm chusŏk -- 4. Chuja ŭi 'Taehak' chusŏk kwa Tasan ŭi pip'yŏng -- 5. Chuja ŭi 'Chungyong' haesŏk -- 6. Tasan Chŏng Yag-yong ŭi 'Chungyong' haesŏk : Chuja haesŏk kwa pigyo -- 7. Tasan ŭi 'Maengja' simsŏngnon haesŏk : Chuja wa taebi rŭl t'onghae -- 8. Tasan ŭi Chujahakchŏk simsŏngnon pip'an : 'Maengja yoŭi' wa 'Tabi yŏhong' ŭl (...) chungsim ŭro. (shrink)

El presente artículo trata los elementos órficos que pueden encontrarse en las Dionisíacas de Nono, un poema épico griego de época imperial (s.V). En su canto sexto podemos leer una versión del nacimiento y muerte de Dioniso Zagreo, un mito fundamental para la religión mistérica griega, tanto la órfica como la dionisíaca. Este artículo analiza el mito tal y corno lo encontramos en las Dionisíacas tratando de confrontarlo con lo que sabemos de la religión órfica y dionisíaca, todo ello (...) desde la óptica de Nono, un poeta entre paganismo y cristianismo, cuyas inclinaciones religiosas aún no han sido despejadas. (shrink)

My goal in what follows is to trace the role of avant-garde music in the rise and development of the Italian counter-culture from the early 1960s until its destruction at the end of the 1970s. Instead of approaching this issue along quantitative, sociological lines, I will focus on one figure whose simultaneous engagement with musical innovation and sociopolitical revolution was exemplary in its intent : the avant-garde composer Luigi Nono, whose career parallels the rise of the Italian counter-culture during (...) the 1960s and early 1970s. I will also briefly examine how the forcible destruction of the Italian counter-culture in 1979 is reflected in the last phase of Nono’s musical career. (shrink)

My goal in what follows is to trace the role of avant-garde music in the rise and development of the Italian counter-culture from the early 1960s until its destruction at the end of the 1970s. Instead of approaching this issue along quantitative, sociological lines, I will focus on one figure whose simultaneous engagement with musical innovation and sociopolitical revolution was exemplary in its intent : the avant-garde composer Luigi Nono, whose career parallels the rise of the Italian counter-culture during (...) the 1960s and early 1970s. I will also briefly examine how the forcible destruction of the Italian counter-culture in 1979 is reflected in the last phase of Nono’s musical career. (shrink)

The article examines the relationship between Western and Eastern aesthetics, analyzing some aspects of the musical production of Tōru Takemitsu, the great Japanese composer, now firmly included in the contemporary music “Western Canon”. The article tries to demonstrate that contemporary music represents an ideal field for verifying the intersection between Western and Eastern aesthetics. It is precisely the paradoxical co-belonging of Takemitsu’s musical thought to both worlds, which encourages us to reconsider our way of understanding the aesthetic “distance” between East (...) and West. Contemporary music represents the privileged place, to verify the idea, that such cultural distinctions are indeed relevant, but only to the extent that they should be transcended in a higher unity, in a “hypercultural” space. Within this space, the differences find their “place”, but also their reciprocal translatability. Takemitsu’s writings record the incessant oscillation between the great Western musical, aesthetic, poetic tradition, and the specifical Japanese cultural tradition. The names of Debussy, Messiaen, Nono, Feldman, Cage stand alongside those of Basho and Zeami, in an aesthetic convergence that is a prelude to a truly “global” aesthetic. The path proposed here analyzes this convergence, retracing, in Takemitsu’s production, three fundamental “figures”: silence, trees, and rain. (shrink)

This fully revised new edition re-establishes Paul Griffiths's survey as the definitive study of music since the Second World War. The disruptions of the war, and the struggles of the ensuing peace, were reflected in the music of the time: in Pierre Boulez's radical reforming of compositional technique and in John Cage's move into zen music, in Milton Babbitt's settling of the serial system and in Dmitry Shostakovich's unsettling symphonies, in Karlheinz Stockhausen's development of electronic music and in Luigi (...) class='Hi'>Nono's pursuit of the universally human, in Iannis Xenakis's view of music as sounding mathematics and in Luciano Berio's consideration of it as language. The initiatives of these composers and their contemporaries opened prospects that have continued to unfold. This constant expansion of musical thinking since 1945 has left us with no single history of music. Paul Griffiths's study accordingly follows several different paths, showing how and why they converge and diverge. In addition to the composers mentioned above, others whose music is discussed include Steve Reich, Jean Barraque, Elliott Carter, Olivier Messiaen, Gyorgy Kurtag, Harrison Birtwistle, and Gyorgy Ligeti. Publication and recording details are given for the works of all these composers and many others. (shrink)

Este estudo enfoca os estilos de vida de adolescentes escolares a fim de identificar tanto as práticas protetivas quanto as arriscadas entre grupos de adolescentes. O estudo transversal contou com uma amostra de 1210 adolescentes escolares de nono ano do ensino fundamental de 66 escolas públicas est.

The so-called New Music in Europe after the Second World War was based on the idea of progress, similar to technological progress and related to it, and aimed at a complete rationalization of composing. The ideal of music as autopoiesis, which appeared in the 1950s, became inherent to this development. It supposed a kind of communication on music as a reified object, which opposed music making and listening as communication between partners. Separated from the life-world and conceived as a self-referential (...) system, New Music should represent not only the logical achievement of the historical development of European music, but also the superiority of Western musical thought in the more developed countries over the music cultures of the world. Therefore, the integral serialism, which should rule the musical composition, became a form of symbolic power within the musical field, in correspondence with similar forms of domination within the economic, political and technological fields. However, some European composers rejected this trend and tried to find an alternative to aestheticism by means of political engagement. For instance, the Italian composer Luigi Nono explores the dialectic between subject and object, technological development and critique of technology, avant-garde and critique of progress, globalization and anti-imperialistic resistance. In his strategy, in which Gramsci's and Walter Benjamin's thought played an important role, aesthetics became inseparable from politics. His search for identity as a composer transforms the tragedy of listening into an allegory of human condition. (shrink)

Es ist, als ob man vergebens aus nächster Nähe zu betrachten suchte, was in weitester Ferne liegt – und dennoch nur scheinbar ein Jenseitiges ist. Etwas unreglementiert erfahren: ist das überhaupt möglich? Die in diesem Band versammelten Beiträge widmen sich der Bestimmung eines Begriffs, der in der kritischen Theorie Adornos einen zentralen, wenngleich nie ausdrücklich benannten Platz einnimmt. In der zahlreich vorhandenen Literatur zu Adorno wird unreglementierte Erfahrung, wenn überhaupt, als ein nur subjektives Phänomen oder gar als ein dem wissenschaftlichen (...) Objektivismus entgegengesetzter Ausdruck individuellen Leids aufgefaßt. Wie hier gezeigt werden soll, geht es allerdings bei der unreglementierten Erfahrung ums Ganze, um nichts weniger als die Möglichkeit von Emanzipation schlechthin. Devi Dumbadze, Christoph Hesse: Einleitung Gerhard Scheit: Erfahrung und jüngstes Gericht. Eine Anmerkung zum verborgenen Freiheitsbegriff der Kritischen Theorie Dirk Braunstein: Die Erfahrung der Gesellschaft. Grundsätzliches zur philosophischen Erkenntnis Simon Duckheim: Alles ganz anders. Adornos Utopie der Erkenntnis am Beispiel Prousts Devi Dumbadze: »Religion, IST«. Ideologie und unreglementierte Erfahrung Isabelle Klasen: »Erfahrung wider das Ich«. Überlegungen zu einem Schönen nach Adorno Irene Lehmann: Die möglichen Unendlichkeiten des Unverständlichen und die Formen der Kritik. Luigi Nono und das engagierte Kunstwerk Christoph Hesse: Virtuelle Erfahrung Fabian Kettner: Eine nutzlose Erfahrung. Der Tod als Instanz unreglementierter Erfahrung. (shrink)

The book is designed as an introduction to the basic questions of musical semantics and represents the quintessence of fifty years of the author's researches into music from Beethoven to Nono.

Enth. u.a.: ".eine Form und ein Name: Tristan". Strukturelle und semantische Untersuchungen an Hans Werner Henzes Préludes für Klavier, Tonbänder und Orchester / Peter Petersen ; Prélude à l'après-midi d'un faune. Mallarmés Gedicht und Debussys Musik / József Ujfalussy ; Fragmente - Stille, An Diotima. Ikonographische Untersuchungen an Luigi Nonos Streichquartett / Georg Friedrich Haas.

Tongsŏ ŭi mannam -- Nojang sasang (1980) -- Nonŏ ŭi nolli (2005) -- Nabi ŭi kkum e tamgin saeroun hŭimang.

Metaphysics and Music in Adorno and Heidegger explains how two notoriously opposed German philosophers share a rethinking of the possibility of metaphysics via notions of music and waiting. This is connected to the historical materialist project of social change by way of the radical Italian composer Luigi Nono.

O texto de Hans-Georg Gadamer que apresentamos traduzido para o português compõe um esforço mais amplo que investiga uma Hermenêutica da Música no contexto das Obras Completas do hermeneuta. Segue de um ponto de vista fundamental, as questões levantadas a respeito dos fenômenos da compreensão e da interpretação apresentados em Verdade e Método, principalmente no que diz respeito à experiência da arte na primeira parte da Obra. Busca-se apresentar a experiência da música a partir dos diversos textos sobre música que (...) podem ser encontrados no todo da Obra e que ainda não se encontram traduzidos para o português. Dessa forma, ao considerarmos o êxito contemporâneo da Hermenêutica no contexto do debate das ciências, contra as pretensões metodológicas objetificadoras e, a consequente crítica à epistemologia, o recurso gadameriano à música desdobra-se nas trilhas da crítica ontológica sobre o modo de ser do estético. O escrito “Goethe e Mozart – o problema Ópera ” compõe o nono Tomo das Obras Completas com o título Ästhetik und Poetik II: Hermeneutik im Vollzug. (shrink)

Premessa - Capitolo primo. Questioni di filosofia del diritto - Capitolo secondo. Filosofia, scienza, diritto - Capitolo terzo. Relazione, pretesa, diritto - Capitolo quarto. Determinazione e diritto - Capitolo quinto. Gioco, amore, diritto - Capitolo sesto. Terzietà nella relazione. Aspettative cognitive e normative - Capitolo settimo. Qualificazioni della terzietà - Capitolo ottavo. Differenza di senso e differenza nomologica - Capitolo nono. Genesi e uso del diritto - Capitolo decimo. Ortonomia delle leggi istituite. Natura, linguaggio, tecnica - Capitolo undicesimo. Linguaggio (...) dei sistemi sociali. Diritto, mercato, globalizzazione - Indice analitico e dei nomi. (shrink)

O objeto da reflexão, neste artigo, são as propostas curriculares veiculadas a partir da segunda metade do século XIX, no Brasil e na Argentina. A questão que se coloca é perceber quais os conteúdos que estão incluídos sobre a América Latina, nestas propostas curriculares, se há semelhanças e diferenças entre estes documentos e se os conteúdos veiculados nas propostas curriculares implantadas a partir de 1995, nestes dois países, refletem as mudanças no ensino de história, sugeridas pelo MERCOSUL Educacional. O texto (...) foi dividido em dois subtemas, sendo que no primeiro, estão dispostos os dados referentes à América Latina no ensino secundário das propostas curriculares veiculadas nos séculos XIX até a década de 1980, do século XX e no segundo, são trazidos os conteúdos da América Latina que estão propostos para o sétimo e o oitavo anos, nos Parâmetros Curriculares Nacionais, do Brasil e para o oitavo e nonos anos, nos Contenidos Básicos Comunes, da Argentina. Foi possível concluir que o lugar da América Latina foi bastante escasso, inclusive no contexto em que ascenderam suas preocupações com o nacionalismo. No caso do Brasil, o currículo foi fabricado de modo a tanto valorizar a história europeia e estadunidense, como modelo a ser seguido, e, num segundo plano, a valorizar a sua própria história. Esta lógica foi igualmente percebida na Argentina, que tinha a sua história como apêndice de uma história universal, privilegiando o olhar sobre o Estado, excluindo os conteúdos sobre a América Latina. Já as propostas curriculares veiculadas a partir de 1995, no Brasil e na Argentina, apresentaram mais permanências do que mudanças, uma vez que colocaram os conteúdos da História da América Latina na condição de ser a sobremesa de um menu, cujo prato principal ainda é a história europeia. Palavras-chave: Ensino de História da América. Mercosul Educacional. Propostas curriculares. (shrink)

O primeiro capítulo versa a respeito do objetivo do que há de ser tratado. O segundo mostra de que modo o Império Romano permaneceu sem alteração durante trezentos e cinqüenta e quatro anos e cinco meses, governado por trinta e três imperadores. O terceiro aborda porque os Orientais, a saber, os Persas, os Árabes, os Caldeus e outras nações limítrofes se subtraíram do domínio do Império Romano. O quarto capítulo discorre sobre quais foram os principais povos que se rebelaram por (...) causa das mencionadas circunstâncias. O quinto trata do princípio e da àisposição relativa à transferência do Império dos Gregos para os Francos. O sexto aborda de que modo Pepino, no tempo de Zacarias, papa romano, foi elevado de mordomo a rei dos Francos. O sétimo capítulo discorre de que maneira Pepino, rei dos Francos, por solicitação da Igreja Romana, veio à Itália lutar contra Astolfo, rei dos Lombardos, o venceu e restituiu à Igreja Romana seus bens temporais. O oitavo trata do modo como, no tempo do papa Adriano, Carlos Magno foi estabelecido patrício da cidade, e como lhe foi concedido o controle sobre a Sé Apostólica. O nono mostra de que maneira foi efetuada a translação do Império Romano dos Gregos para os Francos. O décimo considera como o Império foi transferido dos Francos ou Gauleses para os Germânicos. O décimo primeiro discorre acerca do modo como foram estabelecidos os eleitores do Império Germânico. O décimo segundo capítulo recapitula o que foi anteriormente abordado. (shrink)

The purpose of this investigation is to analyze the state of the art of sciences, beyond philosophy, so far involved in researching wisdom. Eventually, some recommendations will be offered for the further pursuit of wisdom among people and machines. Can machines think? Can machines be wise? These are the questions that will be pursue for the answers in the Age of Artificial Intelligence, Nono-Computing, and the emerging mind science.

De Berlioz à Gérard Grisey, de Nietzsche à Jankélévitch, ce livre aborde différentes facettes de la création musicale d'un point de vue philosophique et tente de montrer que la musique sécrète un potentiel de transformation précieux à bien des égards: transformation du réel tel qu'il existe, transformation du monde sonore, transformation de l'écoute. Écrire de la musique, l'interpréter, l'écouter, l'apprécier constituent les différents chapitres de cet ouvrage. S'y insèrent des entretiens avec des acteurs de la scène contemporaine: les compositeurs Philippe (...) Leroux, Jean-Luc Hervé, Mauro Lanza, la chanteuse Donatienne Michel-Dansac, le violoncelliste Pierre Morlet et le percussionniste Jean Geoffroy; ces entretiens poursuivent la réflexion qui les précède et la rendent ainsi plus conrète. Au fil des pages, il apparaît qu'une oeuvre musicale, inscrite dans la durée, permet de s'émanciper de l'hégémonie d'une instantanéité et d'une ubiquité virtuelle propres à notre époque. Pour paraphraser Luigi Nono, réveiller l'oreille, c'est en somme réveiller l'homme"--Back cover. (shrink)

1. Yulgok chŏnsŏ 1 : Sa, Pu, Si, Soch'a -- 2. Yulgok chŏnsŏ 2 : Soch'a, Kye, Ŭi, Sŏ, Ŭngjemun, Sŏ, Pal, Ki -- 3. Yulgok chŏnsŏ 3 : Sŏl, Ch'an, Myŏng, Chemun, Chapchŏ, Sindo pimyŏng, Myogalmyŏng, Myojimyŏng, Haengjang -- 4. Yulgok chŏnsŏ 4 : Sŏnghak chibyo -- 5. Yulgok chŏnsŏ 5 : Kyŏngmong yogyŏl, Cheŭich'o, Kyŏngyon ilgi -- 6. Yulgok chŏnsŏ 6 : Ŏrok, Purok -- 7. Yulgok chŏnsŏ 7 : Purok, Sokp'yŏn, Pu, Si -- 8. Yulgok chŏnsŏ 8 (...) : Soch'a, Kye, Ŭi, Sŏ, Ŭngjemun, Sŏ, Ki, Non, Cham, P'yojŏn, Chemun, Chapchŏ, Myogalmyŏng, Myojimyŏng -- 9. Nonŏ Yulgok Sŏnsaeng ŏnhae, Maengja Yulgok Sŏnsaeng ŏnhae, Taehak Yulgok Sŏnsaeng ŏnhae, Chungyong -- 10. Chŏngŏn myosŏn, Sunŏn, Kosan kugokka. (shrink)