Název: The role of technology in the aesthetics of postwar serial music
Zdrojový dokument: Musicologica Brunensia. 2017, roč. 52, č. 1, s. 127-137
Rozsah
127-137
-
ISSN1212-0391 (print)2336-436X (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/MB2017-1-12
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/136934
Type: Článek
Jazyk
Licence: Neurčená licence
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
New ideas about music in Europe around 1950 resulted, in part, from contemporaneous research being done in electroacoustic music studios. Early serial composers, searching for a material untouched by history, turned to the basic components of sound, sound's 'parameters', which were seen as naturally occurring raw materials from which a new music could be built. Ironically, this supposedly natural material could not have been identified without the technology of electroacoustic music studios. Such technology enabled sound events to be analysed — to be literally 'broken up'- into component parts; these components, so-called parameters such as pitch, intensity, duration, and timbre, could then be controlled with rationalized serial methods. This paper examines the significant role research in electroacoustic music studios had in contributing to the aesthetic ideals of postwar serial music.
Reference
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[2] BOULEZ, Pierre. Schoenberg is Dead. Stocktakings from an Apprenticeship, trans. Stephen Walsh. Oxford: Oxford University Press, 1991, pp. 2019–214.
[3] DAHLHAUS, Carl. Neue Musik und Wissenschaft. In Wissenschaftliche und nichtwissenschaftliche Rationalität: Ein deutsch-französisches Kolloquium, ed. Kurt Hübner and Jules Vuillemin. Stuttgart, 1983, pp. 107–118.
[4] DECROUPET, Pascal. Stockhausen: Statistik und Form, 1957. In Im Zenit der Moderne: Die Internationalen Ferienkurse für neue Musik Darmstadt 1946–1966, vol. 2, ed. Gianmario Borio and Hermann Danuser. Freiburg: Rombach, 1997, pp. 219–223.
[5] die Reihe: Information über serielle Musik, 1955, vol. 1.
[6] GRANT, Morag J. Serial Music, Serial Aesthetics: Compositional Theory in Postwar Europe. Cambridge: Cambridge University Press, 2001.
[7] KOENIG, Gottfried Michael. Das musikalsiche Material – Ein Begriff und seine Fragwürdigkeit. Ästhetische Praxis. Texte zur Musik 2. Saarbrücken, 1992, pp. 143–153.
[8] LIGETI, György. Wandlungen der musikalischen Form. die Reihe, 1960, vol. 7, p. 5–17.
[9] MORGAN, Robert P. Twentieth-Century Music: A History of Musical Style in Modern Europe and America. New York: W. W. Norton, 1991.
[10] SCHOENBERG, Arnold. Composition with Twelve Tones. Style and Idea, ed. Leonard Stein, trans. Leo Black. Berkeley: University of California Press, 1975, pp. 241–226.
[11] STOCKHAUSEN, Karlheinz. Erfindung und Entdeckung: Ein Beitrag zur Form-Genese. Texte 1: Zur elektronischen und instrumentalen Musik, ed. Dieter Schnebel. Cologne: DuMont, 1963, pp. 222–237.
[12] ZAGORSKI, Marcus. Material and History in the Aesthetics of "serielle Musik". Journal of the Royal Musical Association, 2009, vol. 134, no. 2, pp. 271–317. | DOI 10.1080/02690400903109083