Étiquette : Musical aesthetics
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« Musical interpretation as creation »: an interview with Guilhem Chameyrat, founder of Sofronichrist media
Edgar Degas, L’orchestre de l’opéra (1870), 56,5 x 46 cm, Paris, Musée d’Orsay Here are some translated excerpts from an interview I gave in French to Hélène Macaire, from the podcast ‘Business as an exciting work of art’. I discuss the possible philosophical implications (I hope) that arise when studying the phenomenon of musical interpretation, and…
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The identity of a choreographic work put to the test by French technique and the Vaganova method
French version, following by the english one L’identité d’une œuvre chorégraphique à l’épreuve de la technique française et de la méthode Vaganova. Par Mihn Mabut « Alors que je ne cherche qu’à offrir le meilleur spectacle possible […] il m’arrive souvent d’introduire quelques nouvelles combinaisons de pirouettes ou des sauts que je juge plus impressionnants que…
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Two theoretical approaches (and a number of problems)
Jean Baptiste Siméon Chardin, Les Attributs de la musique (1765), Paris, Musée du Louvre Table of content Introduction Theoretical errors and the (attempted) historical situation of these approaches About the composition itslef Perception is primarily sensible: the contingent nature of interpretation (and the dangers of a dogmatic approach) When an interpreter takes an interest in…
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No fear of the dark: what we, classical music listeners, have in common with heavy metal (and what heavy metal owes to classical music)
The German sociologist Harmut Rosa, director of the Max-Weber-Kolleg in Erfurt, heir to the prestigious and renowned Frankfurt School – where, at the instigation of Horkheimer and Adorno, critical theory was born, a method aimed at including the discoveries and advances of sociology in contemporary philosophy – recently published No fear of the dark, subtitled…
Sofronichrist 