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This anthology presents the results of the Second International Colloquium of the Narratology Research Group (Hamburg University). It engages in the exploration of approaches that broaden Narratology's realm. The contributions illustrate the transcendence of traditional models common to Narratology. They also reflect on the relevance of such a 'going beyond' as seen in more general terms: What interrelation can be observed between re-definition of object domain and re-definition of method? What potential interfaces with other methods and disciplines does the proposed innovation offer? Finally,

Mass media. --- Narration (Rhetoric) --- Storytelling in mass media. --- Discourse analysis, Narrative. --- Mass media and language. --- Language and mass media --- Narrative discourse analysis --- Narrative (Rhetoric) --- Narrative writing --- Mass communication --- Media, Mass --- Media, The --- Discourse analysis, Narrative --- Rhetoric --- Narratees (Rhetoric) --- Analyses --- Muziekfilosofie

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Sound, tone, music, voice, and noise as forms of sonority through which our current economic and ecological crises can be understood.

Sound (Philosophy) --- Noise (Philosophy) --- Civilization, Modern. --- Modern civilization --- Modernity --- Civilization --- Renaissance --- Philosophy --- History --- ARTS/Music & Sound Studies --- SOCIAL SCIENCES/Media Studies --- ARTS/Art Theory & Criticism --- Civilization, Modern --- Muziekfilosofie --- Economie --- Ecologie --- Verenigde Staten van Amerika --- 21e eeuw

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Chinese martial arts cinema is held to be a synthesis drawing on artistic conventions of traditional Chinese theatre. Film sound and music perform as the legitimate heirs of some of the aesthetic ideas and norms of traditional Chinese theatre. This book critically examines the history of this under-explored field of inquiry from a theoretically comparative perspective, demonstrating that the musical codes drawn from traditional theatre are a constantly changing component integral to Chinese martial arts cinema. It explores the interaction between traditional Chinese theatre and Chinese martial arts cinema in how the musical codes of the former have shaped the aesthetics of the latter uniquely. This departs from conventional existing studies that focus on “adaptation.” The book’s historical and theoretical approach connects film, theatre and music, and re-defines the status of distinctive domains of filmic expression, grounding theatre as the pivot – or “hinge” – of film aesthetics. The book proffers this unique angle of research to rethink and re-imagine film sound and audiovisual synchronisation. Primarily intended for scholars in Chinese cinema, film music, Chinese theatre and visual culture, this monograph also presents introductory and comprehensive material for undergraduate and graduate-level courses in film and media studies, film music, Chinese cinema, and Chinese theatre.

Philosophy --- Music --- Film --- Theatrical science --- History --- muziekfilosofie --- TV (televisie) --- theater --- film --- geschiedenis --- muziek --- Asia --- Motion pictures—Asia. --- Music. --- Theater—History. --- Motion pictures. --- Music—Philosophy and aesthetics. --- Asian Film and TV. --- Theatre History. --- Film Theory. --- Philosophy of Music.

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"Theory into Practice. Composition, Performance and the Listening Experience' is the second publication in the series 'Collected Writings of the Orpheus Institute'. The series comprises articles concerning the activities of the Orpheus Institute.The centrale theme of this book is the relationship between the reflections about and the relization of a musical composition. In his paper Words about Music, or Analysis versus Performance, Nicholas Cook states that words and music can never be aligned exactly with one another. He embarks on a quest for models of the relationship between analytical conception and performance that are more challenging than those in general currency.Peter Johnson's article Performance and the Listening Experience: Bach's 'Erbarme dich' shows that a performance is an element within the intentionality of the work itself. He looks for scientific methods capable of proving the artisticity of a performance.The composer Hans Zender, in his A Road Map for Orpheus?, states that a composer must be capable of questioning obvious basic principles (such as equal temperament) and finding creative solutions."

Musique --- Muziek --- Academic collection --- Composition (Music) --- Musical analysis --- Music theory --- Music --- Musical theory --- Theory of music --- Analysis, Musical --- Analytical guides (Music) --- Hermeneutics (Music) --- Music analysis --- Music appreciation --- Composing (Music) --- Music composing --- Music composition --- Musical composition --- Concertante style --- Theory --- Analysis, appreciation --- Analytical guides --- Instruction and study --- Composition --- Musical analysis. --- Music theory. --- musical composition; performance; listening experience; analysis --- Essays --- Muziekfilosofie --- Esthetica --- 20e eeuw --- België

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Examines the tension between intuitive and analytical ways of making sense of the world by exploring musical knowledge and experience.

Music --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Music psychology --- Education, Musical --- Music education --- Musical education --- Musical instruction --- Instruction and study. --- Psychological aspects. --- Philosophy and aesthetics. --- Philosophy --- Psychology --- Study and teaching --- Instruction and study --- Philosophy and aesthetics --- Psychological aspects --- muziekfilosofie --- muzikale vorming --- muziekpsychologie --- muziekesthetica --- Lerarenopleiding --- (vak)didactiek menswetenschappen.