Johan Huizinga Homo soundofheaven.info - Download as PDF File .pdf), Text File .txt) or view presentation slides online. Exam Number Y HOMO LUDENS: COMMENTARY Florencia Frete Homo Ludens is a piece in three movements written for chamber choir, ideally octet. Abstract: Johan Huizinga's Homo Ludens () is, in certain circles, still highly esteemed as soundofheaven.info
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It seems to me that next to Homo Faber, and perhaps on the same level as Homo Sapiens, Homo Ludens, Man the Player, deserves a place in our nomenclature. perhaps on the same level as Homo Sapiens, Homo Ludens, Man the Player, deserves a place in our nomenclature. It is ancient wisdom, but it is also a little. PDF | On Jan 1, , E.H. Gombrich and others published Huizinga's Homo ludens.
Cornell College. Composition for the voice seems to command continuing strong interest among composers with a wide variety of aesthetic orientations, and this has resulted in a steady succession of new works. They are sounds. Ong, Walter J. In bar 93, the tenors also imitate a trumpet with mute, stressing their nasal skills. Other Related Materials 15 pages. The piece discourse is immersed in the semantical field of one of the regional Argentinian folkloric styles.
It seems to me that next to Homo Faber, and perhaps on the same level as Homo Sapiens, Homo Ludens, Man the Player, deserves a place in our nomenclature. It is ancient wisdom, but it is also a little cheap, to call all human activity "play".
Those who are willing to content them- selves with a metaphysical conclusion of this kind should not read this book. Nevertheless, we find n o reason to abandon the notion of play as a distinct and highly important factor in the world's life and doings.
For many years the conviction has grown upon me that civilization arises and unfolds in and as play.
You've reached the end of this preview. Here we come across another, very positive feature of play: As a result, this part tries to explore the different vocal sounds that can be extracted from the given text.
Moreover, the voices were not only developed as a singing instrument but also in its spoken possibilities, developing different moments with combinations of sung and spoken voices.
In bar 53, the dice are thrown again and the piece starts a new section of exploration of those specific sounds that the text has to offer. Thereby, almost all the phonological apparatus is involved: And in this way the whole body of the singers is involved in playing with the sounds.
As Walter Ong says: The oral word, as we have noted, never exists in a simply verbal context, as a written word does. Spoken words are always modifications of a total, existential situation, which always engages the body. Bodily activity beyond mere vocalization is not adventitious or contrived in oral communication, but is natural 13 Op. In oral verbalization, particularly public verbalization, absolute motionlessness is itself a powerful gesture.
These different explorative decisions are also part of the desire to emphasize the importance of words as declamatory events: The text of this section is a poem I wrote trying to put together some of these concepts: The voices are also required to speak, mumble in different volumes, shout and sing.
Likewise, there are some moments of accompanied melodies where the accompaniment voices emphasize some key words of the solo part. In bar 72, the intelligibility of the text is broken, and the proposed syncopation intends to deconstruct the poem and play with its rhythm and phonemes.
In other words, changing the natural accents and the rhythm of the words, even breaking the correct grammar. From bar 87, voices are asked to combine speech with singing and emphasize some key words and from bar 93 the different phrases of the poem appear dismembered until there is a final re-exposition.
By these means, the intention was to explore the different ways 14 Ong, Walter J. Ong, Walter J. The third analytical element is the rhythmical and stylistic approach. The piece discourse is immersed in the semantical field of one of the regional Argentinian folkloric styles.
One of my main interests in this composition was to use the elements from this folkloric music and try to expand them into a new context in dialogue with different ways of approaching the musical language.
This compositional decision is also related to the philosophical approach of retrieving oral and rhythmic cultural elements as a path for new deconstructions and creations, also rooted in the field of post-colonial thinking.
Protracted orally based thought, even when not in formal verse, tends to be highly rhythmic, for rhythm aids recall, even physiologically. Jousse has shown the intimate linkage between rhythmic oral patterns, the breathing process, gesture, and the bilateral symmetry of the human body in ancient Aramaic and Hellenic targums, and thus also in ancient Hebrew.
Some of this techniques were also recurrent in choral repertoire of the 20th century, as Anhalt explains: The combination of these different patterns will usually, as in much Latin American music, make sense in simultaneous and repetitive textures.
For this piece I chose three different patterns and their different combinations: In bar 90, the basses sing a melody structured in pattern 1 and in bar 99 the tenors sing another melody based on pattern 2.
In the same way, different closing phrases emulate the typical folkloric cues, like male voices in bar Likewise, flute and clarinet play with all these elements and contribute to the polyrhythmic background.
Both voices and woodwinds have also sections of body percussion that imitate what the bombo and the guitar would normally do in this style. For example, voices are required to hand clap in bar which is a characteristic folkloric resource.
Another way in which the folkloric element is present is in some particular phrasings of the voices. For example, the Alto solo in is asked to sing with some portaments, dragging the voice as it is usual in this style. Furthermore, there is a harmonic background which tends to modality, and the typical use of the major IV chord as a tension, which is part of a creole bi- modal scale.
For example, as the closing phrase in bar In the second movement, the rhythm patterns are different, in a binary context with no polyrhythm but with a stressed syncopation.
The patterns are presented to the voices from bar 15, and the rhythm prominence is stressed by making the solo voices to choose the notes but attained to the patterns. This movement is based on the murga19 clave and the voices weave the different patterns that the drums would do.
In bar 31, the basses present the text with a rhythm that accompanies the natural accents of the words; and two bars later, the sopranos sing the same text with a more syncopated rhythm. Another stylistic element in this piece is its tonal harmony in contrast to the counterpoint textures which are alien to the style but are precisely part of the compositional explorations. Moreover, from bar 74 there is a typical texture of murga, and the protagonist melody has an improvised character.
From bar 95, I deconstructed one of the rhythmic patterns in a counterpoint texture and in this way, making its identity more diffuse.
In the third movement of the piece, I return to the polyrhythmic patterns but adding pattern 3 which is presented by the flute and underlies the piece as an ostinatto. Flute and clarinet use this folkloric accompaniment elements throughout the piece. It can clearly be noticed in bar 24, in the use of quadruplets as ending phrases or as in bar Other folkloric elements are present in the articulations, the use of expressive accents and effects such as wind tones, slap tongues and flutter tongue in the flute.
Could the novelist have taken it over from his brother, the biologist? Allee, Animal Aggregations Chicago, and The Social Life of Animals London-Toronto, appears to have made the term more popular, though its real vogue dates from the post-war period. Google Scholar.
August 1—22, which also offers an excellent point of entry into the bibliography of the problem of play. See also Maria W. Piers, ed. Gombrich There are no affiliations available. Personalised recommendations. Cite chapter How to cite?