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[null,"1.","Record Nr.",null,"UNINA990001307520403321"]
[null,null,"Autore",null,"Lorentz, H. A. <Hendrik Antoon ; <1853-1928"]
[null,null,"Titolo",null,"Kinetische probleme. / von LORENTZ H.A."]
[null,null,"Locazione",null,"MA1"]
[null,null,"Collocazione",null,"223-D-2"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,"2.","Record Nr.",null,"UNINA9910554272603321"]
[null,null,"Autore",null,"Felsing Ulrike <p>Ulrike Felsing, Hochschule der Künste Bern, Schweiz </p>"]
[null,null,"Titolo"]
[{"$nulls":4},"Reflexive Kataloge : Ein Medium der Übersetzung als Ausstellung, Film und Hypertext / Ulrike Felsing"]
[null,null,"Pubbl/distr/stampa",null,"Bielefeld, : transcript Verlag, 2021"]
[null,null,"ISBN",null,"9783839456286"]
[{"$nulls":4},"3839456282"]
[null,null,"Edizione",null,"[1st ed.]"]
[null,null,"Descrizione fisica",null,"1 online resource (314 p.)"]
[null,null,"Collana",null,"Image"]
[null,null,"Classificazione",null,"AP 15480"]
[null,null,"Disciplina",null,"741.6409051"]
[null,null,"Soggetti",null,"Ausstellungskatalog"]
[{"$nulls":4},"Exhibition Catalogue"]
[{"$nulls":4},"Visual Presentation"]
[{"$nulls":4},"Visuelle Präsentation"]
[{"$nulls":4},"Konzeptkunst"]
[{"$nulls":4},"Concept Art"]
[{"$nulls":4},"Installationskunst"]
[{"$nulls":4},"Installation Art"]
[{"$nulls":4},"Intermedialität"]
[{"$nulls":4},"Intermediality"]
[{"$nulls":4},"Dokumentation"]
[{"$nulls":4},"Documentary"]
[{"$nulls":4},"Raum"]
[{"$nulls":4},"Space"]
[{"$nulls":4},"Film"]
[{"$nulls":4},"Hypertext"]
[{"$nulls":4},"Kunst"]
[{"$nulls":4},"Art"]
[{"$nulls":4},"Bild"]
[{"$nulls":4},"Image"]
[{"$nulls":4},"Medien"]
[{"$nulls":4},"Media"]
[{"$nulls":4},"Bildwissenschaft"]
[{"$nulls":4},"Visual Studies"]
[{"$nulls":4},"Media Theory"]
[{"$nulls":4},"Medientheorie"]
[{"$nulls":4},"Design"]
[{"$nulls":4},"Medienästhetik"]
[{"$nulls":4},"Media Aesthetics"]
[{"$nulls":4},"Kunstwissenschaft"]
[{"$nulls":4},"Fine Arts"]
[null,null,"Lingua di pubblicazione",null,"Tedesco"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,"Nota di contenuto",null,"Frontmatter -- Inhalt -- 1. Einleitung -- 1.1 Fragestellungen und Hypothesen -- 1.2 Zum Forschungsstand -- 1.3 Anmerkungen zur theoretischen Grundlage der Untersuchung -- 1.4 Bezugnahmepraktiken -- 1.4 Kommentar zum methodischen Ansatz -- 1.5 Aufbau der Untersuchung -- 2. Begriffs- und Gegenstandsverständnis -- 2.1 Ausstellungskatalog und Künstlerbuch -- 2.2 Gebrauchsbild und Kunstbild -- 2.3 Layout und Montage -- 2.4 Medialität -- 2.5 Intermedialität -- 2.6 Reflexivität -- 2.7 Resümee -- 3. Der mediale Bezugsrahmen des Katalogs -- 3.1 Arten der kommunikativen Medien -- 3.2 Unterscheidung der Medien nach ihrem Wirkungsbereich -- 3.3 Konstitutive mediale Charakteristika -- 3.3 Konstitutive mediale Charakteristika -- 4. Kleine historische Typologie der Anordnungslogik -- 4.1 Die geordnete Liste -- 4.2 Die seitenbezogene Repräsentationslogik -- 4.3 Frühe reflexive Anordnungslogik -- 4.4 Resümee -- 5. Reflexive Kataloggestaltung -- 5.1 Collatéral (2009) Gestaltung: HIT -- 5.2 Riss, Lücke, Scharnier A (2010) Gestaltung: Walter Pamminger -- 5.3 Behälter, Till Exit (1999) Gestaltung: Markus Dreßen & Phillip Arnold -- 5.4 Constantin, Olaf Nicolai (2006) Gestaltung: Markus Dreßen, Jan Wenzel & Olaf Nicolai -- 5.5 Peggy Buth – Desire in representation: Katalog (2010) Gestaltung: Peggy Buth & Till Gathmann -- 5.6 Resümee -- 6. Reflexive Anordnungslogik -- 6.1 Raumbezogene Anordnungslogik -- 6.2 Filmartige Anordnungslogik -- 6.3 Hypertextartige Anordnungslogik -- 6.4 Resümee -- 7. Modalitäten der Kommunikation -- 7.1 Implizite Translation und Dokumentation -- 7.2 Transparenz und Störung -- 7.3 Explizite Translation und Reflexion -- 7.4 Resümee -- 8. Resümee und Ausblick -- Einführung -- 9. Literaturverzeichnis -- 9.1 Primärliteratur -- 9.2 Sekundärliteratur -- 9.3 Webseiten -- 9.4 Nachschlagewerke -- 9.5 Abbildungsverzeichnis -- 10. Danksagung -- Danksagung"]
[null,null,null,"Sommario/riassunto","Für gewöhnlich präsentieren Ausstellungskataloge das Kunstwerk als von Zeit und Raum losgelöste Reproduktion. Die visuelle Reflexion und die mediale Übersetzung gewinnen jedoch zunehmend an Bedeutung: Neue Bedürfnisse in der Dokumentation von Installations- und Konzeptkunst, die rasante Verbreitung des Internets sowie der damit verbundene Innovationsdruck auf das klassische Buch lassen auch neue Katalogformen entstehen. Ulrike Felsing stellt diese Reflexiven Kataloge vor, die raumbezogene, film- und hypertextartige Präsentationsformen nutzen, um relevante Zusammenhänge zu vermitteln."]
[{"$nulls":4},"»Die Publikation ist in mehrfacher Hinsicht ausgesprochen lesenswert. Als Sachbuch erläutert sie wichtige fachliche Sachverhalte, die bei der Gestaltung von Ausstellungskatalogen zum Tragen kommen. [...] Gleichzeitig ist das gewählte Thema aufgrund des Gegenwarts- sowie des Kunst- und Ausstellungsbezugs ein Querschnittsthema, das in viele angrenzende Forschungsfelder hineinragt. [...] Nicht zuletzt regt die Arbeitzum Nachdenken an und wirft neue Fragen auf.«"]
[null,"3.","Record Nr.",null,"UNINA9910476917603321"]
[null,null,"Autore",null,"Utz Christian <p>Christian Utz, Kunstuniversität Graz, Österreich </p>"]
[null,null,"Titolo",null,"Musical Composition in the Context of Globalization : New Perspectives on Music History in the 20th and 21st Century / Christian Utz, Laurence Sinclair Willis"]
[null,null,"Pubbl/distr/stampa",null,"Bielefeld, : transcript Verlag, 2021"]
[null,null,"ISBN",null,"9783839450956"]
[{"$nulls":4},"3839450950"]
[null,null,"Edizione",null,"[1st ed.]"]
[null,null,"Descrizione fisica",null,"1 online resource (528 p.)"]
[null,null,"Collana",null,"Musik und Klangkultur"]
[null,null,"Classificazione",null,"LP 19507"]
[null,null,"Disciplina",null,"780.904"]
[null,null,"Soggetti",null,"Contemporary Music"]
[{"$nulls":4},"20th Century"]
[{"$nulls":4},"Globalization"]
[{"$nulls":4},"Transnationalism"]
[{"$nulls":4},"Entangled Histories"]
[{"$nulls":4},"Asia"]
[{"$nulls":4},"China"]
[{"$nulls":4},"Japan"]
[{"$nulls":4},"Korea"]
[{"$nulls":4},"Music"]
[{"$nulls":4},"Musicology"]
[{"$nulls":4},"Interculturalism"]
[{"$nulls":4},"Cultural Studies"]
[{"$nulls":4},"Cultural History"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,"Nota di contenuto",null,"Frontmatter -- Table of Contents -- Preface -- Preface to the Revised and Expanded English Edition -- Acknowledgements -- List of Examples, Figures, and Tables -- I. Introduction: Art Music, Identity, and Reflexive Globalization -- 1. Art Music in a Global Context -- 2. Identity Criticism and Reflexive Globalization -- 3. Discourses of Intercultural Composition -- II. Toward an Entangled History of Twentieth-Century Music in a Global Context -- 1. Preliminaries of an Intercultural Music Historiography -- 2. Internationalism and Universalism: Repercussions of Political and Cultural History -- 3. The "]
[{"$nulls":4},"Ambivalence of the Local in Twentieth-Century Music -- 4. Modernist Reception of Japanese and Indian Traditional Music between 1910 and 1945: Delage, Cowell, Mitsukuri, and Hayasaka -- 5. Re-Reading the Impact of the \"Cultural Cold War\" on Music History: Cowell, Mayuzumi, Berio -- 6. Categories of Intercultural Reception in Western Composition -- III. Studies on the History and Analysis of New East Asian Music -- 1. The Reception of Western Modernism in the Music of China and Japan Since the Late Nineteenth Century -- 2. Triggering Musical Modernism in China: The Work of Wolfgang Fraenkel in Shanghai Exile -- 3. The Travels of a Jasmine Flower: A Chinese Folk Song, Its Prehistory, and Tan Dun's Symphony 1997 -- 4. Probing the Compositional Relevance of Cultural Difference: Key Tendencies of East Asian New Music Since the 1950s -- 5. Intercultural Narrativity in East Asian Art Music since the 1990s -- 6. The Impact of Traditional Music on Composition in Taiwan since the Postwar Period -- IV. The shō Context -- 1. Transformation and Myth Criticism in Works for the Japanese Mouth Organ -- 2. The shō as a Medium of Alterity and Self-Referentiality in Helmut Lachenmann's Music -- V. New Music and Beyond: Music-Historical and Cultural Entanglements -- 1. The Rediscovery of Presence: Intercultural Passages Through Vocal Spaces Between Speech and Song -- 2. Space-Time Movements in György Ligeti's Piano Concerto: Polymeter and Conflicting Meter in Historical and Intercultural Perspective -- 3. Intercultural Tension in Music by Chaya Czernowin and Isabel Mundry: Variations on Identity and Musical Meaning -- VI. Reflections on My Own Composing as a Search for Traces in the In-Between -- 1. Layered Fabric, Intertextuality, and Cultural Context: From Striated to Open Space -- 2. Stratification and Analysis -- 3. Intercultural and Multilingual Trajectories of the Human Voice -- 4. Composition as Polyphony: Creating, Performing, and Perceiving Music Non-Hierarchically -- Bibliography -- Appendix -- Index"]
[null,null,null,"Sommario/riassunto","Since the early transformation of European music practice and theory in the cultural centers of Asia, Latin America, and Africa around 1900, it has become necessary for music history to be conceived globally – a challenge that musicology has hardly faced yet. This book discusses the effects of cultural globalization on processes of composition and distribution of art music in the 20th and 21st century. Christian Utz provides the foundations of a global music historiography, building on new models such as transnationalism, entangled histories, and reflexive globalization. The relationship between music and broader changes in society forms the central focus and is treated as a pivotal music-historical dynamic."]
[{"$nulls":4},"Besprochen in:Circuit, 32/1 (2022), Robert Hasegawa"]
[{"$nulls":4},"»Christian Utz' Monographie stellt auch acht Jahre nach der deutschen Erstausgabe eine beeindruckende Pionierleistung dar, an der alle kommenden Studien zur globalen Musikgeschichte gemessen werden müssen.«"]