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Music and the Melodramatic Aesthetic

音乐与情节剧美学

基本信息

批准号：
AH/F012098/1
负责人：
Sarah Hibberd
金额：
$ 1.51万
依托单位：
University of Nottingham
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2007
资助国家：
英国
起止时间：
2007 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FF012098%2F1
关键词：
Music Melodramatic Aesthetic

项目摘要

Research Context:Jacqueline Waeber has recently pointed to melodrama's ambiguous status as a) technical process, b) dramatic genre and c) aesthetic (En musique dans le texte, Paris, 2005). Early nineteenth-century stage melodramas communicated pathos, high emotion and moral polarisation through physical gesture, mise en scène and music as well as spoken dialogue. This project seeks to establish more clearly music's position in the conjunction of Waeber's categories, and to trace its evolving role, in relation to gesture and mise en scène, in the melodramatic aesthetic of opera and early silent film. Critical engagement with the music will enable us to test the coherence of the term 'melodramatic aesthetic' as a label in a more rigorously interdisciplinary manner than has been attempted until now.Studies of melodrama on stage and screen have been dominated by literature, drama and film scholars - including Peter Brooks (1976) and more recently Ben Singer (2001) and (as editors of volumes) Jacky Bratton (1994), Michael Hays (1996) and Kerry Powell (2004). The few scholars who have written about music - in these volumes and elsewhere - include David Mayer, Michael Pisani, George Taylor and Nicole Wild, who have taken the first - essential - step of describing and reconstructing a variety of scores. However, there has been little attempt to move beyond this and theorise melodrama's musical language and aesthetic, or situate it in a broader musico-dramatic context.Musicologists have preferred to examine melodrama's influence on the musico-dramatic language of Romantic opera - notably Emilio Sala (1995) and Mary Ann Smart (2004). Waeber's pioneering book, however, focuses on melodrama as a technical process, and a symposium she has organised for the 2007 International Musicological Society conference has attracted European and American scholars (including Hibberd) seeking to examine the stage genre itself, and its broader aesthetic, from a musicological perspective. This project aims to advance thinking on the melodramatic aesthetic in the following ways:a) move beyond Brooks's literary 'idea' and build on recent work by analysing melodrama as a performance process, and as an aesthetic category, in which music has a crucial roleb) reveal ways in which meanings can be constructed, and notions of pleasure uncovered, through the interrelationship of speech, gesture, image and music in scenes of high emotion and moral conflictc) trace this interrelationship through theatre, opera and film to genres of the late twentieth century, in order to establish the extent to which the melodramatic aesthetic is a meaningful label beyond the nineteenth century. Music will be the central focus of the project, as it is the element of melodrama that has received least attention, a situation that has led to a misconception of the genre's aesthetic. This intellectual framework will determine the activities of the project during the funded period, and will form the basis of the proposed outputs. Potential Applications and Benefits:The project will support research by:Promoting dialogue between academics (including research students) and practitioners from different disciplines and institutionsDovetailing with an ongoing AHRC-funded project at NottinghamProviding channels for communicating the research to both academic and non-academic audiencesProducing materials that will support future research and teachingIn addition:Interactive website, to include video clips of the workshops (to be archived on the University's server)Archived DVDs of edited footage from the workshops for use in future research and teachingEdited volume from the conference (Hibberd and Smith) to be submitted to Ashgate's interdisciplinary series Studies in European Cultural Transmission (2009-10)Monograph (Hibberd): The Melodramatic Aesthetic:From Stage to Screen (2009-10) Conference papers, articles, (Hibberd, Robinson, Smith, Marsh)

研究背景：杰奎琳·韦伯（Jacqueline Waeber）最近指出，情节剧的模糊地位是a）技术过程，B）戏剧体裁和c）美学（En musique dans le texte，巴黎，2005年）。19世纪早期的舞台情节剧通过肢体动作、夸张的场景和音乐以及口语对话来传达悲怆、高昂的情感和道德两极分化。这个项目旨在更清楚地建立音乐在韦伯类别中的地位，并追踪其在歌剧和早期无声电影的情节剧美学中与手势和场景相关的演变角色。与音乐的批判性接触将使我们能够以一种比迄今为止所尝试的更严格的跨学科方式来测试“情节剧美学”一词作为一个标签的连贯性。舞台和银幕上的情节剧研究一直由文学主导，戏剧和电影学者-包括彼得布鲁克斯（1976年）和最近的本辛格（2001年），（作为卷的编辑）Jacky Bratton（1994），Michael Hays（1996）和Kerry Powell（2004）。为数不多的学者谁写过关于音乐-在这些卷和其他地方-包括大卫迈耶，迈克尔皮萨尼，乔治泰勒和妮可野生，谁采取了第一步-必不可少的-描述和重建各种乐谱。然而，几乎没有人试图超越这一点，对情节剧的音乐语言和美学进行理论化，或者将其置于更广泛的音乐戏剧语境中。音乐学家更喜欢研究情节剧对浪漫主义歌剧的音乐戏剧语言的影响--特别是埃米利奥·萨拉（Emilio Sala，1995）和玛丽·安·斯马特（Mary Ann Smart，2004）。然而，韦伯的开创性著作将情节剧作为一种技术过程，她为2007年国际音乐学会会议组织的一次研讨会吸引了欧洲和美国的学者（包括希伯）寻求从音乐学的角度研究舞台流派本身及其更广泛的美学。本项目旨在通过以下方式推进对情节剧美学的思考：a）超越布鲁克斯的文学“理念”，并通过分析情节剧作为一种表演过程和作为一种美学类别（其中音乐具有关键作用），在最近的工作基础上建立b）揭示意义可以被构建的方式，并揭示快乐的概念，通过在高度情感和道德冲突的场景中言语，手势，图像和音乐的相互关系c）通过戏剧，歌剧和电影追溯这种相互关系到二十世纪后期的流派，以确定情节剧美学在多大程度上是世纪之后的一个有意义的标签。音乐将是该项目的中心焦点，因为它是情节剧的元素，受到的关注最少，这种情况导致了对该流派美学的误解。这一知识框架将决定项目在供资期间的活动，并将构成拟议产出的基础。潜在的应用和好处：该项目将通过以下方式支持研究：（包括研究生）和来自不同学科和机构的从业人员与正在进行的AHRC资助的项目保持密切联系，为学术和非学术受众提供沟通研究的渠道，制作支持未来研究和教学的材料此外：互动网站，包括讲习班的录像剪辑（将在大学的服务器上存档）从研讨会中编辑的片段的存档DVD，用于未来的研究和教学会议的编辑卷（Hibabeth和史密斯）将提交给阿什盖特的跨学科系列研究在欧洲文化传播（2009-10）专著（Hibabeth）：旋律美学：从舞台到屏幕（2009-10）会议论文，文章，（Hibabeth，罗宾逊，史密斯，马什）