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"Elferen, Isabella van"
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Gothic music
Gothic Music: The Sounds of the Uncanny traces sonic Gothic through history and genres from the eighteenth-century ghost story through the spooky soundtracks of cinema, television and video games to the dark music of the Goth subculture.
eBook
Dark timbre: the aesthetics of tone colour in goth music
Timbre is a key aspect of musical practice and aesthetics. Artists use instrumentation, vocal technique, and production technology to create precise tone colours; listeners are able to identify genres, artists and connotations through timbre. However, critical assessment of its ephemeral musical agency is scarce. This article develops a theory of timbre. Goth music, which privileges tone colour in production, performance, and aesthetic, is a case in point for the ungraspable agency of this musical parameter. Timbral analyses of two goth tracks, Veil of Light's ‘Cold skin’ and Sopor Aeternus and the Ensemble of Shadows's ‘Dreamland’, will assess tone colour's relation to identity and difference (Walser), signification and corporeality (Barthes, Ihde), and the surplus of meaning and embodiment (Dolar). The article will argue that timbral aesthetics are characterised by the paradox of present absence: it indicates corporeality and meaning but simultaneously exceeds both. Tangible but also disembodied, immersive but also meaningless, it is no wonder that goth exploits timbre's dark agency.
Journal Article
Dances with Spectres: Theorising the Cybergothic
This article theorizes the transgressive faculties of cyberspace‘s Gothic labyrinth, arguing that it is haunted by the ghost of material/information dualism. This ghost is embodied in cybergoth subculture: while cybergothic music creates a gateway to the borderland between biological and virtual realities, dancing enables cybergoths to transgress the boundaries between the two.
Journal Article
Globalgoth?
Globalisation has given rise to two new gothic modes. Globalised gothic, on the one hand, can be defined as the circulation of gothic themes and styles in worldwide locations, through a range of media, and embedded in the capitalist structures of market and consumption. Globalgothic, on the other hand, offers a gothic critique of globalisation, exposing the anxieties and excesses that sift through the carefully laid out safety nets of international culture. The Goth scene would seem to represent both gothic modes. Firstly, the scene, its style and its music are globally spread, and Goths from all over the world
Book Chapter
East German Goth and the Spectres of Marx
The East of Germany, the Bundesländer of the former GDR, is an important centre of Goth activity. The Goth scene is remarkably large in this part of Germany, and one of the most important yearly Goth festivals, the Wave-Gotik-Treffen, takes place in Leipzig. This article investigates the specific characteristics and internal dynamics of East German Goth subcultures after German reunification. Combining subcultural theory and Gothic criticism with Derrida's notions of spectrality and hauntology, the potentials of Gothic as a form of cultural criticism are explored in an investigation of the psycho-social wasteland of the undead GDR. It will be argued that post-Cold War unification has not only led to a new political order, but has also given rise to a new type of Gothicism, as East German Goth subculture is haunted by ‘spectres of Marx’ that provide a critical engagement with globalised capital and media. As a specifically German version of the worldwide Goth scene, moreover, it marks the local boundedness of globalised subcultures.
Journal Article
Fantasy Music: Epic Soundtracks, Magical Instruments, Musical Metaphysics
This article charts the ways in which fantastic music is described in literature and composed in film and computer game soundtracks. I distinguish three main functions of fantasy music. Music accompanies fantastic narratives in carefully construed soundtracks; it invites characters and audiences into fantasy through the portals of magical instruments; and it gives powerful auditory suggestions of the alternative worlds and realities that fantasy sketches.
Journal Article
\RECHT BITTER UND DOCH SÜßE\: Textual and Musical Expression of Mystical Love in German Baroque Meditations of Christ's Passion
The mystical elements of the texts of German Baroque meditations on Christ's Passion are discussed. The origins and theological backgrounds of these expressions in poetry and music are investigated. Lutheran mysticism found a discursive counterpart in Petrarchism, which was based on the expression of ambivalent feelings of love. In his cantatas and Passions with mystical themes, Johann Sebastian Bach took the 17th-century musical conventions for expressing love as a starting point and integrated them into his compositional style. Works by Heinrich Schütz and Dietrich Buxtehude are also examined.
Journal Article
Introduction: \Should we poke it with a stick?\: Approaches to Fantastic Performance
The fantastic has inspired theatrical performances ranging in history and type from the Abydos Passion Play shown on the Ikhernofret Stone (1868 B.C.E.) to the ritual dances and dithyrambs leading to Greek tragedy (according to Aristotle's Poetics c. 335-323 B.C.E) to Mozart's Magic Flute (1791) and contemporary stagings of Klingon narratives (Gunnels 2012). [...]fantastic performance is not limited to the theatrical stage, extending to genres like musical performance, dance, and public life, such as Dia de los Muertos parades. [...]while the cultural significance of \"fantastic performance\" is evident from the historical entwinement of both genres, it is hard to find a clear definition for it. The articles in this special issue of J FA demonstrate the ways in which the study of the fantastic-which, despite its multivalent entanglements with performance, is still primarily analyzed through literary and cinematic approaches-can benefit from methodologies and viewpoints generated in performance criticism and analysis. Since the \"performative turn\" in the 1990s (Parker and Kosofsky Sedgwick), the appropriation of performative methods of inquiry into fields such as literary and cultural studies, sociology, anthropology, and psychology has led to new insights in complex cultural phenomena such as identity, gender, communication, and creation.
Journal Article