Books by Lina Navickaitė-Martinelli
In an attempt to expand and enrich the existing trends of musical performance studies, as well as... more In an attempt to expand and enrich the existing trends of musical performance studies, as well as exploit the potentials of semiotic analysis, "Piano Performance in a Semiotic Key" offers the theoretical perspective that enables the unfolding of the multiple meanings generated by and communicated through the performer s art.
Without denying that musical performance is inevitably associated with the opus, the semiotic approach, it is proposed here, should study performance as encompassing all the exogenic meanings that do not necessarily depend on a musical work. Thus, the focus of the present study is the figure of a classical music performer as a significant part of society, as well as cultural, institutional and personal discourses that both generate the art of music performance and originate from it. The main targets here are mapping the predominant tendencies of the art of musical performance during the twentieth century and proposing a form of semiotic analysis of different representations and self-representations that musical performers, pianists in particular, put into action in their interactions with social and cultural contexts (including different types of performer-listener communication processes, scholarly analyses, the various media through which the art of music performance is disseminated, and aspects related to the marketing and ideologizing of today s performance practices).
Part 1 introduces a semiotic framework for studying musical performance. Part 2 discusses a variety of meanings communicated through the performers art as well as the media in which the art of classical piano music performance is operating. Part 3 positions the performers art within the Western musical canon by examining Beethoven interpretations as played by pianists of various cultural and historical backgrounds. The concluding Part 4 presents novel discourses on the art of musical performance by analyzing 11 personal websites of Lithuanian classical pianists as an important vehicle of contemporary performers for communicating their artistic identities.
It is claimed in this work that the combination of semiotic and musicological approaches is relevant and revealing in the study of musical performance art in that it strongly make a case for current musicology to elaborate increasingly interdisciplinary paradigms and modes of investigation.
At a Fair Distance is a collection of studies on Italian Risorgimento performed by international ... more At a Fair Distance is a collection of studies on Italian Risorgimento performed by international scholars. It offers a view “from another angle,” within a context—the 150th anniversary of Italian unification—that has generally been arranged “by Italians for Italians,” lacking that particular resourcefulness and often impartiality that international scholarship was able to contribute to the Risorgimento’s historiography.
The book is ideally articulated in four sections. In the first one, Adrian Lyttelton, Bruce Haddock, and Joseph Luzzi refer to the general problems raised by the Risorgimento as a phenomenon, as a historical “container” of events, as a myth. In the second one, the importance of the hundreds of topical histories that surround the “main events” is exemplified through the case of Giuseppe Verdi, discussed by Philip Gossett, Peter Stamatov, and Andreas Giger. In the third section, the reader has the opportunity to learn about the attention that Italian events and characters received in other countries: it is the case of Dennis Berthold’s essay on the depiction of Garibaldi in America, and the volume’s Appendix, collecting the articles that the New York Times published during March 1861. Finally, three essays will illustrate how international characters displayed sympathies for, and played leading roles in, the events of Risorgimento: it is the case of Thomas H. Schmid with Percy Bysshe Shelley, Carol E. Harrison with Pauline Craven, and Sandra M. Gilbert with Elizabeth Barrett Browning.
"The International Congress on Musical Signification has been the world’s most important venue fo... more "The International Congress on Musical Signification has been the world’s most important venue for musical semioticians since 1986, the year of its first meeting in Imatra, Finland. The fact that, 24 years later, we introduce the proceedings of the 10th congress is testimony to the longevity and significance of this event. The jubilee edition of the congress, ICMS10, took place in Lithuania from the 21st to the 25th of October, 2008, at the Lithuanian Academy of Music and Theatre in Vilnius and the Kaunas University of Technology.
The Tenth International Congress on Musical Signification, devoted to the theme “Before and After Music,” has encouraged the discussion and exchange of ideas about both the “archaeology” of music and its after-life. By aiming to transcend recent research on similar themes represented by historical musicology, cultural musicology, and related disciplines, the congress has invoked musical semiotics as a platform for providing a refreshing rethinking of musical worlds and the capacity of music to decode and construct human reality from cultural practices to their theoretical conceptualisations.
This collection contains fifty-five essays based on the papers delivered during the ICMS10. The articles have been grouped into eight thematic sections according to the following categories:
Ex Cathedra
Epistemologies, Theories, Paradigms
Semiotics of Culture and Society
Multidisciplinary Perspectives
Philosophies of Performance
Opera and Drama
Musical Signification in Cinema
Twentieth-Century Compositional Practices"
"In 2007, the 40th Baltic Musicological Conference was organised in Vilnius by the Musicological ... more "In 2007, the 40th Baltic Musicological Conference was organised in Vilnius by the Musicological Section of the Lithuanian Composers’ Union in association with the International Musicological Society. Devoted to the link between music as creative practice and experience and its social and cultural contexts, the topic of the conference, “Poetics and Politics of Place in Music,” included the following aspects: sense and representation of place in music and politics of cultural identity; embeddedness of music in cultural context and intercultural exchange; local vs. global in musical creativity and its reception; genius loci and conceptualisations of local soundscapes, and others.
The essays contained in this collection of the conference’s proceedings explore how these ideas have been expressed in Europe and in Baltic diasporas in the U.S. from the nineteenth to the twenty-first centuries. Twenty contributions from all over Europe (Latvia, Estonia, Finland, Poland, Serbia, Italy, Spain, Portugal, Greece, Austria, Germany, Lithuania) are organised into three sections:
· Music and Cultural Identity: (Re)debating National and Modern
· Space, Place and Individual Expression
· Migration, (De)contextualization and Politics of Representation"
Cultural exchange and reciprocal artistic influence have often been a leitmotif in the relation b... more Cultural exchange and reciprocal artistic influence have often been a leitmotif in the relation between Finland and Italy. This book focuses on five cases, chosen among the least predictable ones, with a general preference for comparative analyses. Such cases include the fields of visual arts, music, popular culture, sports, advertising and anthrozoology. The wish is to give a little more impulse to a field of inquiry that experiences the paradox of being extremely lively and rich on the one hand, and so relatively little explored on the other.
Papers by Lina Navickaitė-Martinelli
Routledge eBooks, Jan 4, 2023
The American Journal of Semiotics, 2017
De Gruyter eBooks, Mar 6, 2023
Numanities - arts and humanities in progress, Dec 2, 2017
This article aims to discuss the multiple meanings that music performers generate through their a... more This article aims to discuss the multiple meanings that music performers generate through their art and other forms of communication. The focus here is the figure of the classical music performer, the pianist in particular, as a significant part of social and cultural life. It seems obvious that the “job” of a performer does not consist in music playing alone, but calls into question a number of variables of private and public, musical, extra-musical, and para-musical articulation. Each of these variables produces several different discourses that make “performance” and “performer” particularly complex and dynamic concepts whose understanding inevitably requires a broadened idea of musicology. In this article, the author makes an attempt to demonstrate some recurrent cliches concerning popular thought on the performer’s activity, as well as the potential of novel discourses around the art of musical performance that may broaden our understanding on what kind of variables constitute the communication, reception, and consumption of the performer’s art. Three keywords are proposed that may allow us to cover some of the essential aspects of the phenomenon: mediation, or interpretation; recognition, or stardom; and (self)representation, or promotion.
Numanities - arts and humanities in progress, Jul 11, 2018
De Gruyter eBooks, Mar 6, 2023
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Books by Lina Navickaitė-Martinelli
Without denying that musical performance is inevitably associated with the opus, the semiotic approach, it is proposed here, should study performance as encompassing all the exogenic meanings that do not necessarily depend on a musical work. Thus, the focus of the present study is the figure of a classical music performer as a significant part of society, as well as cultural, institutional and personal discourses that both generate the art of music performance and originate from it. The main targets here are mapping the predominant tendencies of the art of musical performance during the twentieth century and proposing a form of semiotic analysis of different representations and self-representations that musical performers, pianists in particular, put into action in their interactions with social and cultural contexts (including different types of performer-listener communication processes, scholarly analyses, the various media through which the art of music performance is disseminated, and aspects related to the marketing and ideologizing of today s performance practices).
Part 1 introduces a semiotic framework for studying musical performance. Part 2 discusses a variety of meanings communicated through the performers art as well as the media in which the art of classical piano music performance is operating. Part 3 positions the performers art within the Western musical canon by examining Beethoven interpretations as played by pianists of various cultural and historical backgrounds. The concluding Part 4 presents novel discourses on the art of musical performance by analyzing 11 personal websites of Lithuanian classical pianists as an important vehicle of contemporary performers for communicating their artistic identities.
It is claimed in this work that the combination of semiotic and musicological approaches is relevant and revealing in the study of musical performance art in that it strongly make a case for current musicology to elaborate increasingly interdisciplinary paradigms and modes of investigation.
The book is ideally articulated in four sections. In the first one, Adrian Lyttelton, Bruce Haddock, and Joseph Luzzi refer to the general problems raised by the Risorgimento as a phenomenon, as a historical “container” of events, as a myth. In the second one, the importance of the hundreds of topical histories that surround the “main events” is exemplified through the case of Giuseppe Verdi, discussed by Philip Gossett, Peter Stamatov, and Andreas Giger. In the third section, the reader has the opportunity to learn about the attention that Italian events and characters received in other countries: it is the case of Dennis Berthold’s essay on the depiction of Garibaldi in America, and the volume’s Appendix, collecting the articles that the New York Times published during March 1861. Finally, three essays will illustrate how international characters displayed sympathies for, and played leading roles in, the events of Risorgimento: it is the case of Thomas H. Schmid with Percy Bysshe Shelley, Carol E. Harrison with Pauline Craven, and Sandra M. Gilbert with Elizabeth Barrett Browning.
The Tenth International Congress on Musical Signification, devoted to the theme “Before and After Music,” has encouraged the discussion and exchange of ideas about both the “archaeology” of music and its after-life. By aiming to transcend recent research on similar themes represented by historical musicology, cultural musicology, and related disciplines, the congress has invoked musical semiotics as a platform for providing a refreshing rethinking of musical worlds and the capacity of music to decode and construct human reality from cultural practices to their theoretical conceptualisations.
This collection contains fifty-five essays based on the papers delivered during the ICMS10. The articles have been grouped into eight thematic sections according to the following categories:
Ex Cathedra
Epistemologies, Theories, Paradigms
Semiotics of Culture and Society
Multidisciplinary Perspectives
Philosophies of Performance
Opera and Drama
Musical Signification in Cinema
Twentieth-Century Compositional Practices"
The essays contained in this collection of the conference’s proceedings explore how these ideas have been expressed in Europe and in Baltic diasporas in the U.S. from the nineteenth to the twenty-first centuries. Twenty contributions from all over Europe (Latvia, Estonia, Finland, Poland, Serbia, Italy, Spain, Portugal, Greece, Austria, Germany, Lithuania) are organised into three sections:
· Music and Cultural Identity: (Re)debating National and Modern
· Space, Place and Individual Expression
· Migration, (De)contextualization and Politics of Representation"
Papers by Lina Navickaitė-Martinelli
Without denying that musical performance is inevitably associated with the opus, the semiotic approach, it is proposed here, should study performance as encompassing all the exogenic meanings that do not necessarily depend on a musical work. Thus, the focus of the present study is the figure of a classical music performer as a significant part of society, as well as cultural, institutional and personal discourses that both generate the art of music performance and originate from it. The main targets here are mapping the predominant tendencies of the art of musical performance during the twentieth century and proposing a form of semiotic analysis of different representations and self-representations that musical performers, pianists in particular, put into action in their interactions with social and cultural contexts (including different types of performer-listener communication processes, scholarly analyses, the various media through which the art of music performance is disseminated, and aspects related to the marketing and ideologizing of today s performance practices).
Part 1 introduces a semiotic framework for studying musical performance. Part 2 discusses a variety of meanings communicated through the performers art as well as the media in which the art of classical piano music performance is operating. Part 3 positions the performers art within the Western musical canon by examining Beethoven interpretations as played by pianists of various cultural and historical backgrounds. The concluding Part 4 presents novel discourses on the art of musical performance by analyzing 11 personal websites of Lithuanian classical pianists as an important vehicle of contemporary performers for communicating their artistic identities.
It is claimed in this work that the combination of semiotic and musicological approaches is relevant and revealing in the study of musical performance art in that it strongly make a case for current musicology to elaborate increasingly interdisciplinary paradigms and modes of investigation.
The book is ideally articulated in four sections. In the first one, Adrian Lyttelton, Bruce Haddock, and Joseph Luzzi refer to the general problems raised by the Risorgimento as a phenomenon, as a historical “container” of events, as a myth. In the second one, the importance of the hundreds of topical histories that surround the “main events” is exemplified through the case of Giuseppe Verdi, discussed by Philip Gossett, Peter Stamatov, and Andreas Giger. In the third section, the reader has the opportunity to learn about the attention that Italian events and characters received in other countries: it is the case of Dennis Berthold’s essay on the depiction of Garibaldi in America, and the volume’s Appendix, collecting the articles that the New York Times published during March 1861. Finally, three essays will illustrate how international characters displayed sympathies for, and played leading roles in, the events of Risorgimento: it is the case of Thomas H. Schmid with Percy Bysshe Shelley, Carol E. Harrison with Pauline Craven, and Sandra M. Gilbert with Elizabeth Barrett Browning.
The Tenth International Congress on Musical Signification, devoted to the theme “Before and After Music,” has encouraged the discussion and exchange of ideas about both the “archaeology” of music and its after-life. By aiming to transcend recent research on similar themes represented by historical musicology, cultural musicology, and related disciplines, the congress has invoked musical semiotics as a platform for providing a refreshing rethinking of musical worlds and the capacity of music to decode and construct human reality from cultural practices to their theoretical conceptualisations.
This collection contains fifty-five essays based on the papers delivered during the ICMS10. The articles have been grouped into eight thematic sections according to the following categories:
Ex Cathedra
Epistemologies, Theories, Paradigms
Semiotics of Culture and Society
Multidisciplinary Perspectives
Philosophies of Performance
Opera and Drama
Musical Signification in Cinema
Twentieth-Century Compositional Practices"
The essays contained in this collection of the conference’s proceedings explore how these ideas have been expressed in Europe and in Baltic diasporas in the U.S. from the nineteenth to the twenty-first centuries. Twenty contributions from all over Europe (Latvia, Estonia, Finland, Poland, Serbia, Italy, Spain, Portugal, Greece, Austria, Germany, Lithuania) are organised into three sections:
· Music and Cultural Identity: (Re)debating National and Modern
· Space, Place and Individual Expression
· Migration, (De)contextualization and Politics of Representation"
Keynote presenters:
Professor Dr JOHN RINK (University of Cambridge)
Professor VYKINTAS BALTAKAS (Lithuanian Academy of Music and Theatre, Maastricht Academy of Music)
The purpose of the conference is to bring together doctoral candidates and post-doctoral researchers working in the fields of musical performance and practice-based or artistic research in music. ‘Doctors in Performance’ places the emphasis on the music itself with the majority of presentations consisting principally of a musical performance in the form of a recital or a lecture recital related to the research. Shorter paper presentations on relevant fields of artistic research are also welcome.
Presentation proposals
The presentations may consist of a musical performance (solo or chamber music), which can take the form of a recital (40 minutes max, including 10 minutes of research introduction) or a lecture recital (40 minutes max). The music performed is expected to include or relate closely to the contents of the doctoral degree or research the participant is conducting. Paper presentations on artistic research (20 minutes max) are also welcome.
Possible forms for presentations:
• Recital 40 minutes (+ 10 minutes discussion)
• Lecture recital 40 minutes (+ 10 minutes discussion)
• Paper presentation 20 minutes (+ 10 minutes discussion)
The conference language is English and all presentations should be in English.
Proposals should be sent by the 1st of April to Lina Navickaitė-Martinelli at the email address [email protected]. The proposals will be peer-reviewed anonymously.
Publication
Conference abstracts for Doctors in Performance 2018 will be published in advance on the conference website and in print. This will serve as a concert programme as well as provide background information about the participants and their research topics. The applicants are therefore strongly encouraged to include written comments discussing how their artistic and other research work support each other and towards which common goal they are directed. Peer-reviewed publication of selected conference proceedings is intended.
Further information
Doctors in Performance 2018 is organised by HARPS, Hub for Artistic Research and Performance Studies at the Lithuanian Academy of Music and Theatre. For further information, please contact: Dr. Lina Navickaitė-Martinelli at [email protected] and/or visit the website of the conference: http://harps.lmta.lt/en/events/doctors-in-performance/.