Gianmario Borio
Biographic Data
| ID | 2028984 |
|---|---|
| NAME | Gianmario Borio |
| GIVEN NAMES | Gianmario |
| FAMILY NAME | Borio |
| SIGNATURE | BORIO G |
| AFFILIATIONS | University of Pavia |
| ORCID | 0000-0002-3167-2550 |
| VERIFIED | Yes |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 10 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 2001 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 2 |
Besprechungen
Felix Wörner
Thematic Units and Developments. On the Persistence of ‘Organic Form’ in Chamber Music Between 1910 and 1930
The Formenlehre (theory of the musical form), inaugurated by Adolf Bernhard Marx after Beethoven's death and witnessed by several treatises at the end of the nineteenth and the beginning of the twentieth centuries, has left traces in the writings and works of Béla Bartók, Alban Berg, Paul Hindemith, Arnold Schoenberg and Anton Webern. Chamber music (especially string quartets) is the area in which the dialogue with the past is most tangible. The …
Adoption and Transformation of Traditional Forms in the Fourth String Quartet of Béla Bartók
In describing the form of his Fourth String Quartet, Bartók employed the terminology of the German Formenlehre with which he was acquainted thanks to the teaching of Hans Koessler. Bartók's elucidation suggests that the models for the construction of thematic units, contrasts, developments and closing segments, which were normative for the sonata cycle in the nineteenth century, continued to exercise their influence despite the distance from func…
Immediacy and the Mediations of Music
Musical Listening in the Age of Technological Reproduction
Contents: Preface. Part I Facets of a Theoretical Question: Aesthetic experience under the aegis of technology, Gianmario Borio Ideological, social and perceptual factors in live and recorded music, Eric Clarke On the evolution of private record collections: a short story, Esteban Buch Music and technical reproducibility: a paradigm shift, Alessandro Arbo Algorithmic and nostalgic listening: post-subjective implications of computational and empir…
Musical Communication and the Process of Modernity
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
L’analyse musicale comme processus d’appropriation historique
La réception de la musique d’Anton Webern dans les cercles avant-gardistes de Darmstadt constitue l’une des questions centrales permettant de comprendre les relations entre les pensées compositionnelles de la première et de la deuxième moitié du XXe siècle. L’auteur s’appuie sur un « kaléidoscope » d’analyses différentes (voire contradictoires entre elles) d’une même oeuvre, l’opus 27 de Webern, pour montrer de quelle façon les musiciens des anné…
Work Structure and Musical Representation
This article examines Adorno's thinking on the relationship between musical analysis, interpretation and performance. Adorno's work is set in the context both of its aesthetic antecedents, particularly in the work of Schoenberg as composer and as music theorist, and of its subsequent critics. At the centre of the article is a discussion of the analysis seminars which Adorno gave during the Darmstadt Ferienkurse in the mid-1950s, on Schoenberg's V…
Nono, Luigi
Schenker versus Schoenberg versus Schenker
Music theory has increasingly been attempting to find points of conjunction between the analytical methods of Heinrich Schenker and those of Arnold Schoenberg. However, the move toward a reconciliation has encountered obstacles because of the uneven development of the two schools and differences in the philosophical background of their procedures. The present article focuses on these differences through an examination of three standard examples: …
Musical Listening in the Age of Technological Reproduction
Contents: Preface. Part I Facets of a Theoretical Question: Aesthetic experience under the aegis of technology, Gianmario Borio Ideological, social and perceptual factors in live and recorded music, Eric Clarke On the evolution of private record collections: a short story, Esteban Buch Music and technical reproducibility: a paradigm shift, Alessandro Arbo Algorithmic and nostalgic listening: post-subjective implications of computational and empir…
Schenker versus Schoenberg versus Schenker
Music theory has increasingly been attempting to find points of conjunction between the analytical methods of Heinrich Schenker and those of Arnold Schoenberg. However, the move toward a reconciliation has encountered obstacles because of the uneven development of the two schools and differences in the philosophical background of their procedures. The present article focuses on these differences through an examination of three standard examples: …
L’analyse musicale comme processus d’appropriation historique
La réception de la musique d’Anton Webern dans les cercles avant-gardistes de Darmstadt constitue l’une des questions centrales permettant de comprendre les relations entre les pensées compositionnelles de la première et de la deuxième moitié du XXe siècle. L’auteur s’appuie sur un « kaléidoscope » d’analyses différentes (voire contradictoires entre elles) d’une même oeuvre, l’opus 27 de Webern, pour montrer de quelle façon les musiciens des anné…
Work Structure and Musical Representation
This article examines Adorno's thinking on the relationship between musical analysis, interpretation and performance. Adorno's work is set in the context both of its aesthetic antecedents, particularly in the work of Schoenberg as composer and as music theorist, and of its subsequent critics. At the centre of the article is a discussion of the analysis seminars which Adorno gave during the Darmstadt Ferienkurse in the mid-1950s, on Schoenberg's V…
Nono, Luigi
Schenker versus Schoenberg versus Schenker
Music theory has increasingly been attempting to find points of conjunction between the analytical methods of Heinrich Schenker and those of Arnold Schoenberg. However, the move toward a reconciliation has encountered obstacles because of the uneven development of the two schools and differences in the philosophical background of their procedures. The present article focuses on these differences through an examination of three standard examples: …
Work Structure and Musical Representation
This article examines Adorno's thinking on the relationship between musical analysis, interpretation and performance. Adorno's work is set in the context both of its aesthetic antecedents, particularly in the work of Schoenberg as composer and as music theorist, and of its subsequent critics. At the centre of the article is a discussion of the analysis seminars which Adorno gave during the Darmstadt Ferienkurse in the mid-1950s, on Schoenberg's V…
L’analyse musicale comme processus d’appropriation historique
La réception de la musique d’Anton Webern dans les cercles avant-gardistes de Darmstadt constitue l’une des questions centrales permettant de comprendre les relations entre les pensées compositionnelles de la première et de la deuxième moitié du XXe siècle. L’auteur s’appuie sur un « kaléidoscope » d’analyses différentes (voire contradictoires entre elles) d’une même oeuvre, l’opus 27 de Webern, pour montrer de quelle façon les musiciens des anné…
Musical Communication and the Process of Modernity
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Musical Listening in the Age of Technological Reproduction
Contents: Preface. Part I Facets of a Theoretical Question: Aesthetic experience under the aegis of technology, Gianmario Borio Ideological, social and perceptual factors in live and recorded music, Eric Clarke On the evolution of private record collections: a short story, Esteban Buch Music and technical reproducibility: a paradigm shift, Alessandro Arbo Algorithmic and nostalgic listening: post-subjective implications of computational and empir…
Adoption and Transformation of Traditional Forms in the Fourth String Quartet of Béla Bartók
In describing the form of his Fourth String Quartet, Bartók employed the terminology of the German Formenlehre with which he was acquainted thanks to the teaching of Hans Koessler. Bartók's elucidation suggests that the models for the construction of thematic units, contrasts, developments and closing segments, which were normative for the sonata cycle in the nineteenth century, continued to exercise their influence despite the distance from func…
Immediacy and the Mediations of Music
Besprechungen
Felix Wörner
Thematic Units and Developments. On the Persistence of ‘Organic Form’ in Chamber Music Between 1910 and 1930
The Formenlehre (theory of the musical form), inaugurated by Adolf Bernhard Marx after Beethoven's death and witnessed by several treatises at the end of the nineteenth and the beginning of the twentieth centuries, has left traces in the writings and works of Béla Bartók, Alban Berg, Paul Hindemith, Arnold Schoenberg and Anton Webern. Chamber music (especially string quartets) is the area in which the dialogue with the past is most tangible. The …
Art (8 works) · Musicology and Musical Analysis (6 works) · Musical (5 works) · Philosophy (5 works) · Diverse Musicological Studies (4 works) · Literature (4 works) · Linguistics (3 works) · Mathematics (3 works) · Aesthetics (2 works) · Art history (2 works)