Power of Analogy: Curation in Music, Music Critique as a Curation and Curation of Medical Research Findings – A Comparison
Curator: Aviva Lev-Ari, PhD, RN
UPDATED on 8/19/2018
This is the best curation on Music I read to date
Aviva Lev-Ari, PhD, RN
LEONARD BERNSTEIN AT 100 Celebrating the legendary composerconductor’s string works and unbridled loyalty to the music By Thomas May
https://memeteria.files.wordpress.com/2018/07/august-2018-st280.pdf
On 2/11/2014 I read The Hub Review: Concert with a key by Thomas Gravey. I was inspired to develop an Analogy between his Review and the work we do.
This article has three parts:
Part 1: Six Components in the Analogy
Part 2: Equivalence in the Analogy
Part 3: Curation in Music (Component #1) and Music Review as a Curation (Component #2)
Part 1
Six Components in the Analogy
Component #1: Curation in Music
Component #1: Detailed, below
Work of Original Music Curation and Performance: The Celebrity Series Concert on 1/31/2014 in Boston, MA, which I attended.
#Boston premiere of ‘Old Friend’ tonight at New England Conservatory’s Jordan Hall at Kirill’s recital, which includes works by #Haydn, #Schumann (‘Carnaval’), and #Mussorgsky (‘Pictures at an Exhibition’).
Component #2: Music Review and Critique as a Curation
Component #2: Detailed, below
Music Review and Critique as a Curation it represents a very fine example of Music Critique as a Curation written by Thomas Garvey on 2/8/2014 for the 1/31/2014, Celebrity Series concert in Jordan Hall by Kirill Gerstein, Component #1, above
http://hubreview.blogspot.com/2014/02/concert-with-key.html#links
Component #3, #4, #5, #6 – Curations in Medical Research
Component #3: Detailed, here
Work of Original Expression what is the methodology of Curation in the context of Medical Research Findings Exposition of Synthesis and Interpretation of the significance of the results to Clinical Care
Dr. A. Lev-Ari‘s definition of the Methodology of Curation
conceived: NEW Definition for Co-Curation in Medical Research
Component #4: Detailed, here
Work of Original Expression of the function and use of Curation methodology for Medical Research Findings Exposition of Synthesis and Interpretation of the significance of the results to Clinical Care
Dr. JD Pearlman‘s metaphoric expression of the Curation Methodology
In the Summary to Volume Two
Cardiovascular Original Research: Cases in Methodology Design for Content Co-Curation – The Art of Scientific & Medical Curation
This volume introduces a fresh look at keeping abreast of cardiovascular disease. In particular it explains and exemplifies the how and why of curation as a methodology for discourse. Curation is designed to edify and facilitate awareness and cohesive access to biomedical knowledge otherwise buried in subspecialty scientific journals in the Life Sciences and Medicine. Particular themes of focus include discovery, innovation and translation to clinical care, including linkages and underpinnings that might otherwise be mislabeled as esoteric. Key components of curation include expert identification of data, ideas and innovations of interest, expert interpretation of the original research results, integration with context, digesting, highlighting, correlating and presenting in novel light.
The superstructure of curations includes multiple additional creative elements:
- eTOCs stands for electronic Table of Contents: fresh thought-provoking organizing themes link a path to a diverse trail of publications (analogous to creating a path in the forest)
- Extracts highlighting notable elements of publications that mark a path
- Voice of Expert commentary providing context and direction
The Electronic Table of Contents (eTOCs) serves several functions:
- eTOCs collates information from multiple sources into coherent themes
- eTOCs enables multiple pathways to information, including both Longitudinal and cross-sectional organizational themes.
- eTOCs presents nested pathways through the forest, including nesting of topics by overreaching theme, chapters, Curations, reports and references.
- eTOCs assemblies of thought provide fresh vistas that promote innovation and rethinking
In ekistics (urban design) Francis Bacon emphasized the importance of pathways linked to purpose, recommending a landmark magnet as an attractor for pursuits along a created path. Analogously, if the continually expanding collective knowledge embodied in subspecialty publications represents a forest of data and ideas, then Curation creates pathways in that forest that serve not only to keep the reader from getting lost, but also, as recommended by Francis Bacon, creates pathways that serve attractive purposes, with special vistas, highlights, themes, coherence, motivations and purposes.
CONTEXT (for each, Causes, Risks, Biomarkers and Therapeutics): See Volumes 1,2,3,4,5,6
Component #5: Detailed, here
Work of Original Expression of two examples for the Writing Tatent and the Curation Talent applied in Medical writings by a Surgeon and by a Pathologist
Dr. A. Lev-Ari’s Curation of an article that demonstrates the Art of Praise for the Physician as a Author and Writer of proze of high literary merit on subjects in Science and Medicine:
Component #6: Detailed, here
Music in the Service of Clinical Care
Dr. A. Lev-Ari’s Curation of an article on the Function of Music in Restoration of Wellness from a Disease Stage
The Role of the Harp and of Music in Medical Recovery
More Harp Music
http://www.youtube.com/watch?v=Tiye0BqxJS4
Part 2
Equivalence in the Analogy
Analogy Defined
(from Greek ἀναλογία, analogia, “proportion”[1][2]) is a cognitive process of transferring information or meaning from a particular subject (the analogue or source) to another particular subject (the target), or a linguistic expression corresponding to such a process. In a narrower sense, analogy is an inference or anargument from one particular to another particular, as opposed to deduction, induction, and abduction, where at least one of the premises or the conclusion is general. The word analogy can also refer to the relation between the source and the target themselves, which is often, though not necessarily, a similarity, as in the biological notion of analogy.
Analogy has been studied and discussed since classical antiquity by philosophers, scientists and lawyers. The last few decades have shown a renewed interest in analogy, most notably in cognitive science.
SOURCE of the definition
http://en.wikipedia.org/wiki/Analogy
Equivalence in the Analogy
[Component #1] is analogous to [Component #6] = [Component #6] is analogous to [Component #1]
[Component #2] is analogous to [Component #4] = [Component #4] is analogous to [Component #2]
[Components #3, #5] are analogous to [Components #1, #4] and [Component #2]
Component #1: Work of Original Music Curation and Performance:
Component #2: Music Review and Critique as a Curation
Component #3: Work of Original Expression what is the methodology of Curation
Component #4: Work of Original Expression of the function and use of Curation methodology for Medical Research
Component #5: Work of Original Expression of two examples for the Writing Tatent and the Curation Talent applied in Medical writings by a Surgeon and by a Pathologist
Component #6: Music in the Service of Clinical Care
Part 3
Curation in Music (Component #1) and
Music Review as a Curation (Component #2)
Component #1: Curation in Music
Work of Original Music Curation and Performance: The Celebrity Series Concert on 1/31/2014 in Boston, MA, which I attended.
#Boston premiere of ‘Old Friend’ tonight at New England Conservatory’s Jordan Hall at Kirill’s recital, which includes works by #Haydn, #Schumann (‘Carnaval’), and #Mussorgsky (‘Pictures at an Exhibition’).
SOURCE
https://www.facebook.com/pages/Kirill-Gerstein/101570384501
Component #2: Music Review as a Curation
Music Review and Critique which represents a very fine example of a Curation in Music Critique written by Thomas Garvey for the 1/31/2014, Celebrity Series concert in Jordan Hall by Kirill Gerstein, Component #1, above
http://hubreview.blogspot.com/2014/02/concert-with-key.html#links
Saturday, February 8, 2014
Concert with a key
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Kirill Gerstein |
Andres teases that opposition into a vast structure in “Old Friend” – but more on that later. The point I want to make now is that Andres’ title unlocks the design of Gerstein’s whole concert – or concert à clef, if you will. For the pianist had clearly taken Andres’ insight into Chopin’s scherzo as the key to his entire program, and had thought long and hard not only about the theme of “friendship” (particularly lost friendship) in life and art, but about the musical values that undergird its expression.Hence the opening choice of Haydn’s familiar Variations in F Minor. It too, of course, is a double variation: an initial melancholy voice in F minor is slowly entwined by a lighter song in F major; two “friends,” if you will, of opposed temperaments. The voices dance in ever more elaborate patterns until the second is abruptly cut off, and a coda of poignant force rings down the curtain on the piece. Legend has it that this shock was inspired by the unexpected death of Haydn’s friend Maria Anna von Genzinger, with whom he had struck up a passionate correspondence. And the Variations do have a sweetly epistolary quality; one voice seems to “reply” to the other almost by post. But Gerstein took that sense of distance a bit far; he played with a measured precision that came off as slightly dry – although the outpouring of emotion at the end of the affair, if you will, was genuine, and genuinely moving.In the next offering, Schumann’s Carnaval, the theme of friendship evoked in music was even more overt. For the program of Carnaval – now worked out by scholars from Schumann’s notes and titles – is a cavalcade of the composer’s friends, both real and imaginary, through which move two lovers, Ernestine von Fricken and Schumann’s eventual wife, Clara (along with real-life musical idols like Paganini). The piece seems structureless to the uninitiated (and, well, it is!) – but there is clearly some sort of romantic showdown at its core; many believe Schumann’s eventual rejection of Ernestine in favor of Clara is prefigured in its variations. But then Chopin shows up, and the party grinds on. I admit Carnaval never quite sustains my interest throughout its meandering length; but I also admit that Gerstein’s version was among the most compelling I’ve heard. From its opening flourish, the pianist seemed in superb control of its many voices, and even the sense of their overlapping interpenetration, and the musical haze that surrounds them. And Gerstein carried off the finale, in which the whole artsy crowd marches out to confront the Philistines, in very high style indeed.After intermission came the premiere from Andres, who delivered the most musically abstracted vision of friendship yet. Of course, this time the friend was itself a piece of music – Chopin’s scherzo (rather than the composer himself) – and music about music is almost always inherently abstract. Andres basically took the most famous feature of the scherzo – those cascades of arpeggios – and doubled them, so that “Old Friend” rippled up from the bottom of the keyboard as well as down from its top, in a series of interlocking minimalist cells drawn from Chopin’s harmonic material. The cells moved in and out of phase, and various points of intersection or inversion were constantly shifting – still, Andres seemed unable to transcend the limits of his schema, and the eventual emergence of the scherzo’s own phrases seemed like a slight anticlimax (as we could see them coming from so very far away).
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Hartmann’s “Catacombs of Paris” |
Thus “Old Friend” at times felt like pianism for pianists, a kind of giant tinkertoy – still, its construction was virtuosic, and its technical demands challenging indeed (the composer himself is an astonishingly facile pianist, and he clearly intended this as his own exploration of the grand manner – a kind of maximal minimalism!). For his part, Gerstein played its rumbling, chiming cadences for all they were worth; Andres wrote the piece for him, and he had to have been pleased with this performance.
Finally, galloping after the premiere came one of the great keyboard warhorses – Mussorgsky’sPictures at an Exhibition. If you’re wondering at the friendship connection here, recall that the paintings in question were by a close friend and artistic associate of the composer – the architect/artist Viktor Hartmann. And in keeping with the slightly funereal theme of much of the concert, these famous tone poems were intended as both valedictory and obituary; for the exhibition that Mussorgsky evokes (and which included works from his own collection) was, tragically, a posthumous one, as the artist died of an aneurysm at the early age of 39.
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Hartmann’s “Great Gate” of Kiev was never realized. |
I always make it a point to recommend that concertgoers who are only familiar with Ravel’s celebrated orchestration seek out a performance of the original score (preferably in its first form – as here – rather than Rimsky-Korsakov’s corrected edition). It’s not often heard, as its demands are punishing, particularly in the final two “pictures,” but it is an eye-opener. Perhaps inevitably, the dazzling color of the Ravel somehow spectacularizes, and perhaps even slightly de-personalizes, everything inPictures; certainly on the keyboard, for instance, it is far easier to limn the shifting response of the “Promenade” theme as it moves from vignette to vignette.
Although of course the viewer of these pictures eventually seems to step right into them; his voice first materializes deep within “Catacombs” – where perhaps he is calling to Hartmann himself – before later opening out into its own apotheosis in “The Great Gate of Kiev” (the artist’s sketch for the project, at left) – which in a way is both a gate to Heaven, through which we can imagine the artist’s spirit soaring, and a portal into the deeply Russian artistic consciousness that Mussorgsky and Hartmann dreamed of together.
To be honest, I felt that Gerstein was finally tiring a bit as the bells chimed their welcome in “Great Gate,” but it hardly mattered, as so much of his performance had proved so very exciting (perhaps it’s worth noting at this point the pianist’s own Russian roots). Just a few highlights were the subtly singing line of “The Old Castle,” the note of tragedy sounding beneath “Goldenberg and Schmuyle,” and the haunted murmur of “Con Mortuis in Lingua Mortua.” This was truly a masterly performance of a masterpiece, so no wonder the crowd called the pianist back for an encore. Gerstein chose Rachmaninoff’s Op. 3, No. 3, “Mélodie,” – a last nostalgic bouquet, simple and sweet – and perhaps meant for yet another friend cut down too soon.
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