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Liminality, Postmodernity and Passion: Towards a Theoretical Framework for the study of 21st Century Choral Passion Settings

机译:合法性,后现代性和激情:为研究21世纪合唱激情设置的理论框架

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After more than a century of neglect of the form, over thirty major concert works with ?¢????Passion?¢???? within the title have emerged into the choral landscape during the past 50 years. These settings use diverse libretti, drawing from sources both sacred and secular; some of the composers of these works profess Christianity, some adhere to other religious traditions, and some do not profess any particular faith at all. Their only common threads seem to be their self-identification with the title of ?¢????Passion?¢????, and their depiction of a story in which a particular individual undergoes suffering and death. The purpose of this article is not to analyze specific Passion settings but rather to explore the structural form and content of the Passion genre as a whole, and begin to develop an interdisciplinary framework for future analysis of this body of music, using the tools offered by the field of liminal studies. Additionally, this essay will explore how the concept of Postmodernism, both as it manifests both in Western culture and through that culture?¢????s artistic and musical expression, might give some insight into the Passion form?¢????s resurgence into modern musical thought.
机译:经过一个多世纪的形式忽略,超过30场主要的音乐会作品都带有“激情”,“激情”。在过去的50年中,标题中的标题已经出现在合唱领域。这些设置使用从神圣和世俗的来源中提取的各种书画。这些作品的作曲家中有一些自称基督教,有些则坚持其他宗教传统,而有些则完全不表示任何特定的信仰。他们唯一的共同点似乎是他们以“激情”,“热情”的头衔来进行自我识别,以及描绘一个特定的人遭受痛苦和死亡的故事。本文的目的不是分析特定的激情设置,而是探索激情类型的整体结构形式和内容,并开始开发跨学科框架,以使用该工具提供的工具对音乐的未来进行分析。阈值研究领域。此外,本文还将探讨后现代主义的概念,既体现在西方文化中,又体现在西方文化中的艺术和音乐表现形式,如何对激情形式有所了解?复兴现代音乐思想。

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