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audiovisuelle Markenkommunikation fi nden sich bei nur wenigen Unternehmen. Dabei stechen insbesondere audiovisuelle Logos wie die von T-Com, Intel, Audi, McDonalds u.a.m. ins Auge (und Ohr). Hier ist Klang in Form von Musik, Geräuschen, Stimmen von jeher Bestandteil der Markenkommunikation – je- doch ohne eine über die Zwei-Sekunden-Länge eines Logos hinausgehende Klangwelt, die der vorhandenen Bildwelt entspräche. Dies sollte im Sinne und im Auftrag einer kontinuierlich und konsistent geführten Corporate Choreography angestrebt werden. Bis dato ist festzustellen: Der

-time compositions. Loudspeakers emitted sounds blended with attributes of the space, of distances, of echoes, of structures of a staircase. Loudspeakers, sometimes directed against the wall, brought about specific frequencies. For her Sound Joined Rooms SPACE IMPRESSION MEDIATED BY SOUND | 173 (1980), Amacher explored special acoustic features by which several spaces could be connected to one another. She steered the sonic choreography of her performances through a mixing console. I assume that her play contains intuitive elements of improvisation between the sound

neither are radio broadcasts of it an- ything like the radio anathema of »dead air«.8 The silence is clearly not that of malfunction or missed cue, but is planned and staged; ceremonially framed. The whole ceremony works towards the stroke of eleven. In the run up, the ear is prepared by an aural choreography of brass band music; the shouts, boots and rifle noises of military drill; the close-miked, almost liturgical, vocal cadence and rhythm adopted by outside-broadcast commentators on State occasions. Big Ben chimes the hour, then on the first strike of eleven a

Foundation for the Arts Fellowship Award in Music Composition“ (1985) und den „New York Foundation for the Arts Fel- lowship Award in Choreography“ (1996) sowie den „Atlanta Film Festival Spe- cial Jury Prize“ für ihren Film „Ellis Island“ (1981). Sie war Preisträgerin des „MacArthur Fellowship Award“ (1995), auch „MacArthur ‚Genius‘ Award“ genannt, des „Yoko Ono Lennon Courage Award for the Arts“ (2012), wurde zur „Musical America’s 2012 Composer of the Year“ (2012) ernannt und erhielt den „New Musica USA Founders Award“ (2013). Zudem hat sie den „Richard and

Embodiment und Enactment verweisen auf den kommunikativ-intersubjektiven Einbezug von Bewegungen, Gesten und anderen leiblichen Ausdrucksformen, welche über das v.a. durch Konventionen begrenzte Maß an ‚Spielvorschriften‘ hinaus gehen und auf diese Weise eine erweiterte Interpretation ermöglichen (Gruhn 2014: 97). The choreography of a performer’s movements represents a potentially powerful and persuasive way to communicate with an audience (Clarke 2012: 25; vgl. Besse 2016: 3ff; Fischer-Lichte 2008: 99). Erweiterter Interpretationsbegriff Das so beleuchtete

preparation of an entry and, if it is victorious, the hosting of the contest the following year, the national broadcasting organizations responsible for arranging ESC entries have drawn on various experts to determine how to present their states, including ones from the music industry, tourism organiza- tions and advertising firms. There has sometimes even been direct government involvement as well. The choices of artists, composers, lyrics, genres, themes, choreography, and costumes have thus been loaded with political meanings. For example, while an entry not sung

innovative rhythms appear every day. The most common way to fix new musical ma- terial happens via uploading videos on the internet platform YouTube. The advantage of this medium is obvious: the sound and choreography of a sam- ba performance is clearly fixed, although it could be difficult for an outsider to imitate the rhythms, especially when he or she does not have any kind of musical education. The same problem exists with the application of music scores. Samba rhythms as parts of rooted popular phenomena have been devel- oped in musical practice. Upon first

installed. These were used for light choreographies by the Japanese artist Keiji Usami, accompanying the musical presentation. This combination of music and laser spectacle had an important influence on Xenakis’s artistic thinking, which seems to be re- flected in the multimedia conceptions of Polytope de Cluny and the Diatope. But the most fascinating aspect of the Space Theatre for Xenakis was its sound diffusion system, designed by Takashi Fujita, the chief engineer of the NHK Engineering Laboratory. The technical potential of the Space Theatre triggered in

’s films not only document the tour itself but give insight into the artist’s background and private life before and during the tour. A large quantity of home video footage and private photographs present important stages of the artist’s professional and personal life and the preparations for the tour. The artists com- ment extensively on and offscreen on material that shows the rehearsing of music and choreography, the planning and building of scenery and stage, the designing and fitting of costumes, etc. They can tell their story in their own words. While the

. 32 Bei narrativem Tanz handelt es sich im Grunde um eine stilisierte, rhythmisierte und meist von Musik begleitete Variante der Pantomime. 33 Vgl. Meelberg (wie Anm. 3). 34 Vgl. Foster, Susan Leigh: Choreography and Narrative, Blooming- ton/IN 1996; Nye, Edward: »>Choreography< is Narrative: The Pro- grammes of the Eighteenth-Century Ballet d ' Action«, in: Dance Re- search 2611 (2008), S. 42-59. 35 Ich verwende den Begriff in Anführungszeichen, weil es sich bei Bewegungsmodi, Gesten und Mimik zwar um Zeichenprozesse, nicht jedoch um Sprache im eigentlichen