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001-es BibID:	BIBFORM055355
Első szerző:	Katschthaler, Karl (irodalmár, germanista)
Cím:	An der Grenze zum Klang : Synästhesie und Theatralität bei Jennifer Walshe / Karl Katschthaler
Dátum:	2014
Megjegyzések:	On the Edge of Sound: Synaesthesia and Theatricality in Works of Jennifer WalsheThis paper first gives a brief discussion of the notion of synaesthesia from a phenomenological point of view drawing on Maurice Merleau-Ponty's concept of the unity of the body and Bernhard Waldenfels's elaboration of different modalities of perception. With this as background Irish composer and vocalist Jennifer Walshe is presented as an artist working in a field between music and visual arts. The ambivalent theatricality of her hybrid works of art establishes perception situations where the synaesthetic modality is brought to the fore. The main focus in the paper is on the "silent movie" The Softest Music in the World by Turf Boon, a member of Walshe's fictional collective Grúpat. This silent piece is discussed in the context of John Cage's use of silence and is also compared with some works in the German tradition of hybridisation of music and theatre (Mauricio Kagel, Dieter Schnebel). A further point of reference is Michael Maierhof's aesthetics of the everyday. Other works of Jennifer Walshe briefly discussed are her vocal solo piece G.L.O.R.Y.- and her ensemble piece Minard/nithsdale: for string quartet, with two boomboxes and torch. It is shown how all these works make us ask questions about the unity of the senses, theories of perception and the aesthetics of music.
Tárgyszavak:	Bölcsészettudományok Irodalom- és kultúratudományok idegen nyelvű folyóiratközlemény külföldi lapban Synaesthesia Theatricality Musicology
Megjelenés:	Musicologica Austriaca. - 31 (2014), p. 221-238. -
Internet cím:	Intézményi repozitóriumban (DEA) tárolt változat
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