Title: The role of technology in the aesthetics of postwar serial music
Source document: Musicologica Brunensia. 2017, vol. 52, iss. 1, pp. 127-137
Extent
127-137
-
ISSN1212-0391 (print)2336-436X (online)
Persistent identifier (DOI): https://doi.org/10.5817/MB2017-1-12
Stable URL (handle): https://hdl.handle.net/11222.digilib/136934
Type: Article
Language
License: Not specified license
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
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.
References
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[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.
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[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